Adriana Sobanska was born in Zakopane, Poland during the final fall of the Communist Regimen. Her parents, both practicing artists, had both fled Poland when she was just three in order to escape imprisonment, possibly death for the violation of the tyrannical socialist code imposed on all the people. Soon afterward, the final fall of the Communist rule brought upon a sudden revolutionary change, which wrecked greater havoc among Poland and created a severe lack of resources. Adriana was brought to live within a close knit artistic community consisting of two well-known Polish Painters, Tadeusz Brzozowski (1918 ñ1987) and the controversial Jerzy Sosin (1934-1989). Adriana was first introduced to painting during this indefinite time, where she obtained her first lessons at the age of five from Tadeusz Brzozowski. At this same time co-habitating with Jerzy Sosin, she was exposed to his autobiographically abstract and perverse expressionistic painting style. Although both artists had very different motifs for their work, both articulated themselves through the movement of color as emotional expression, having a great influence on Adrianaís later work. Adriana's work can be identified as underground, dark, grotesque, and sharing several qualities with fetish art. Although her themes are dark in nature, Adriana uses color quite abundantly -- approaching her work with a Fauvist attitude. She states it should be the first component that is analyzed in her portrayals. Therefore, her composition both in film and on canvas deals with using libidinous colors to represent a vulgar idea of the female epiphany, often satirical in nature. The female is also most commonly the protagonist in her work. Within film, Adriana applies the idea of movement of color very literally; the highly saturated moving images appear to have come straight from the paint tube. Her imagery also incorporates a substantial amount of synecdochical iconic imagery, which are often used as tools of expression for the female figures, or simply tools of denotion. To the very last detail, nothing in her work is without symbolic meaning.