My interest in music began with a fascination for The Beatles. As children, my brother and I would often pretend to be musicians, using tennis rackets as our guitars. When it came time to choose an instrument at music school, the guitar felt like the most natural choice.
Throughout my musical education I was repeatedly told that I played too quietly. It took years—along with countless hours of practice, music and a fair amount of embarrassment—before I began to see that not as a weakness, but as part of my musical identity. Looking back, I also realize that improvisation has always been my most personal way of processing emotions, and that the sound of the guitar has always had a calming effect on me.
I was also very ambitious. During my final year of high school, I secretly learned a concerto for guitar and orchestra without telling my teacher and applied to perform it at the graduation concert. The performance went remarkably well and, for a while, left me with the feeling that anything was possible.
Then came university—a period of relentless work on my technique—and a close friendship with the outstanding guitarist Andrzej Olewiński. Together, we won numerous chamber music competitions. Yet despite those successes and years devoted to mastering my instrument, I still didn't know what I truly wanted to play.
Studying with Carlo Marchione in Maastricht opened a new path: arranging. For the following years, I became fascinated with translating music written for other instruments into the language of the classical guitar. I even devoted my doctoral research to this subject, and my arrangements were later released on the albums Opus 1 (2017) and Preludes (2019).
At the same time, ideas for my own music began to appear. I first tested many of them with my students, eventually leading to 10 Studies in Minimal-Music Style (2023). Around that time I also started collaborating with my sister, the singer Katarzyna Wilgos. Wanting complete artistic freedom, I immersed myself in music production, discovering the creative possibilities of computers, virtual instruments, samples and synthesizers. Together, under the name The Nimb, we created the EP Daylight, which we composed, produced and mixed entirely ourselves.
Mirrors takes that journey one step further. It brings together everything that has shaped me as a musician: original compositions, music production and the sound that has accompanied me since I was eight years old—the classical guitar. The result is a collection of intimate electro-acoustic pieces, where minimalism, cinematic atmospheres and contemporary electronics meet the warmth of an acoustic instrument.
