Polish sculptor, son of Antoni Rząsa. From 1980 to 1985 he attended the National Secondary School of Arts A. Kenar's in Zakopane. He began his studies in 1985 at the Academy of Fine Arts in Krakow. After a year he moved to the Academy of Fine Arts in Warsaw, where he continued his studies in Professor. Jan Kucz’s studio. He defended his Diploma under the guidance of Professor Grzegorz Kowalski in 1991. In 1994-1995 he studied at Bratislava in VSVU in the studio of J. Jankovic. He lives and works in Zakopane, where he and his wife Magda Ciszewska-Rząsa run the Antoni Rząsa Gallery. Since graduation he has exhibited his works in Polish Institutions in Berlin, Bratislava and Rome, and also in BWA in Szczecin, Olsztyn, Zakopane, Suwalki, Gorlice, in the Polish Sculpture Center in Orońsk, in private galleries in Zakopane, Warsaw , Krakow, Berlin, Szydłowiec, Zutphen (Netherlands), Rosenheim (Germany). He participated in the artistic open-air in Taylla (Hungary), the Cap Arcona (Germany), Zakopane and Gorlice. He is the creator of the statuettes awarded to the authors of the films on Meeting of Highland Cinema in Zakopane.
Marcin Rząsa in a different way tells us about man and his relationship with nature. Out of wood emerge both small and large sculptures, depicting "roughly hewn" human figures, from the heads of which grow creepers or roots and sometimes even cubic forms. The cycles of his works have no titles. The cycle combined with organic shapes derived from 2009 and refers to the dialogue that the author was engaged in with the Slovak photographer, Robo Kočan, during their shared exhibition. At that time, seemingly trivial creations of nature inspired the imagination of both artists to create sculptures and photographic records in a haiku-like form, which turns on new fields of associations. The series of works from more recent years consist of woods of carved human silhouettes, nameless crowds in vertical or horizontal compositions, the dominant feature being the rhythms that organize them. Sometimes his work takes the form of an interactive game: from several characters installed on wooden blocks, there appears a kind of chessboard, interspersed with empty fields, where the viewer is invited to rebuild and rearrange the spatial arrangement. His most recent compositions reveal the artist’s fascination with the regular, horizontal line, which, like the horizon itself, organizes the space. In this particular narrative of verticals, horizontals and rhythms, the sculpture can exist in isolation or in various configurations in the group. From multiplicated forms in the space are formed surprising new unities. Rząsa's sculptures emanate peace, innocence, warmth. They are unpretentious, simple, minimalistic, consciously unsaid by the author, to stimulate the imagination and serve new interpretations.