BIO-CREATION. CLOSING THE CYCLE. ECONOMICALLY WE NO LONGER NEED TO GROW UP

The floral TARCZA, the silk of the ZBROI, the curtain of the OSŁONIĘCIA are one artistic statement. In reference to the female body in dance, as well as the artist's travels and Dutch microhistory of artits, a kind of still life, an organic form is created – covering female sensitivity by a tulip shield. It is a combination of artistic and design work.

The objects have been constructed in reference to the Japanese "MA" philosophy. They are a combination  an artistic and design work, exploring the concepts of BETWEEN and DIALOGUE. The first object – becomes a part of architecture, a contemporary Ornament referring to nature and the covered body. The second object is a free-standing sculptural form, in reference to the scarf – armour. The third object is a singularity referring to the bas-relief, the curtain, the touch of the body. It refers to a collectible brooch  and at the same  symbolizes the female cover and the personal inside symbolism.

The theme of temporary homes, shelters or hiding places has been present in my work for over a decade. The “temp” series or “trenches” are an echo of a simple community, but they also point to social exclusion and social inequalities. Daily, I am a designer on a daily  and I am fascinated by simple solutions, such as the Fukushima Paper Partition System by Shigeru Ban.

The specter of a great wave hangs over the Tri-City, which will flood houses and urban infrastructure as a result of the climate crisis. This vision provoked me to build a mock-up of a raft from miniature canisters. The tank is buoyant and can float freely on the surface of the water, including us, giving a sense of temporary security and support. In February, the war broke out in Ukraine, and canisters began to be used to transport fuel. The tragic fate of the Ukrainians depends on the negotiations of rich countries and keeping prices low. Only nature can survive cruel geopolitics. Meanwhile, we drift.

Szare Wrony is co-created by: Alicja Karska (artistic duo Karska/Went) is responsible for weaving each thread. Ania Witkowska (co-creator with Adam Witkowski) is an artist and academic teacher, but she has corporate experience to. The first lockdown made the girls realize that it is worth redirecting the creation to used things.

It is worth redirecting the creative to used things to generate a smaller carbon footprint. This is how they brought the Szare Wrony brand to life. In yhis way they brought to life mark of Szare Wrony. Their work mainly on wool sweaters, they reduce the climate crisis on a micro scale, generating a closed loop in the case of clothing production. Wool is a valuable raw material, natural and relatively easy to regenerate. The girls work in the spirit of Kintsugi (philosophy of golden scars), repairing vintage sweaters. They set themselves the objective of taking care the world using the small steps  method. Out of tenderness for tomorrow.

The love of life, or biophilia, takes the form of a multi-faceted analysis of the management of post-production waste generated during the processing of wooden and wood-based furniture materials. This is a proposal of a second life for post-production material comparable to wood raw material.

Post-production waste generated during the processing of furniture boards is a significant part of the production process. Utilization of the chip material is a costly and non-ecological process. An important aspect is therefore the use of wood, as much as possible, in accordance with the idea of ​​sustainable design. The designer's biomass developed using this waste brings functional and sustainable potential for its reuse.

The waste combined with natural glue and hay will enable the creation of utilitarian items.

“Krucha Natura” of the Tatra Mountains consist of 5 elements: Dolina Gąsiennicowa, Gorce Mountains, Beskid Żywiecki-Babia Góra Peak, Dolina Pięciu Stawów, Tarnica Peak.

A series of sculptures inspired by the geological formation of selected places in Poland results from their specific microclimate and delicate homeostasis between the inanimate and animate nature of this area. The choice of regions is dictated by changes in nature. The work through shows the fragility of the natural structure of places.

A series of sculptures inspired by the geological formation of selected places in Poland results from their specific microclimate and delicate homeostasis between the inanimate and animate nature of this area. The choice of regions is dictated by the feeling of constant changes taking place in nature. The work through the form and material (porcelain) shows the fragility of the natural structure of places, preserving visible contour lines, like human fingerprints. The sculptures depict the surface of lakes and mountains that blind people cannot experience visually.

Series consist of 7 tablecloths.

The subject of art in the work devoted to the creation of the seven tablecloths is actually Knitting. If we think that everything consists of lines, threads, drawings, then we will imagine a great network created by all the matter in the world. Just like in the human brain, it is important to create new connections between neurons – lines in order to survive in the world.

The subject of art in the work devoted to the creation of the seven tablecloths is actually Knitting. If we think that everything consists of lines, threads, drawings, then we will imagine a great network created by all the matter in the world. Just like in the human brain, it is important to create new connections between neurons – lines in order to survive in the world.

My contribution was to draw symbolic and intentional drawings on each tablecloth and natural dyeing methods for dye tablecloths. And when I giving the tablecloths to the families for use, I allowed stains, both of animal and plant origin, to speak. Added to this, the unlimited time allowed all the life of the Microbes to come into play.

It is fascinating to be able to co-create the matter of glass in its artistic version, i.e. at the moment when glass is formed as a material, still liquid, melting, long before it solidifies into a fragile and mysterious world. It is a continuous interaction between man as the creator and nature, which co-creates the final effect of creation.

It is fascinating to be able to co-create the matter of glass in its artistic version, i.e. at the moment when glass is formed as a material, still liquid, melting, long before it solidifies into a fragile and mysterious world. It is a continuous interaction between man as the creator and nature, which co-creates the final effect of creation. My recent searches led me to return to the original techniques of creating and forming glass, melting dust and aggregate as in pate de verre, adding metal oxides, as in medieval Venetian glass from Murano, to the technique of fusing.

For me, nature has the character of an idol to adore in feminists perspective, in which creative power is primordial, incomprehensible and lies beyond civilization. I always go more towards abstraction, because I have the impression that it shows the state of creation and disintegration at the same time.

"(...) I was poking around, I was digging, I felt as if the whole planet was entering my body (...)"

For me, nature has the character of an idol to adore in feminists perspective, in which creative power is primordial, incomprehensible and lies beyond civilization. I always go more towards abstraction, because I have the impression that it shows the state of creation and disintegration at the same time.

"(...) I was poking around, I was digging, I felt as if the whole planet was entering my body (…)"

The sensitive, psychic matrix inside me is soaked with the experiences of everyday life. It is a creative process, the meaning of existence.

The inspiration for„Totem I - świst” is the painting of employees of the Emalia Olkusz factory, made between the 1960s and 1980s, in the New Look style. Their enamel plates resemble the famous "pikasiaki", but also the post-war painting of abstract expressionism and tachisme. The dishes produced in Olkusz were made in ceramic technologies on a sheet.

The dishes produced in Olkusz were made using a technique based on ceramic technologies on a sheet. These items were decorated by women employed in the factory, working extra hours. Hence, greater freedom in their creation. To this day, these artifacts are on the secondary market, their authorship is omitted, and the factory policy itself displaces the artistic phenomenon and cultural practice, explaining it as an incomprehensible incident in the history of Emalia. The objects from the "Totem" series are sculptural forms, emphasizing the issue of community, and in the context of Emalia Olkuska they appear to be the most important.

"Ascent" – a large-scale site-specific light installation that embodies a variety of archetypical and physical associations – from microscopic observations, electromagnetic wave dynamics, and atmospheric phenomena of a whirlwind to a spiritual epiphany. Most importantly, Ascent offers a unique immersive experience, that invites the viewer to become its central point, and transforms the perception of the viewer on a sensual level.

"Ascent" – a large-scale site-specific light installation that embodies a variety of archetypical and physical associations – from microscopic observations, electromagnetic wave dynamics, and atmospheric phenomena of a whirlwind to a spiritual epiphany. Most importantly, Ascent offers a unique immersive experience, that invites the viewer to become its central point, and transforms the perception of the viewer on a sensual level. The light and the fog create a monumental dynamic space that is participatory, the space that opens up a new dimension and directs the attention toward the bodily sensations in the explicit environment. The viewer is free to approach the work according to its own sensual response, but direct interaction can offer the potential to evoke a new perceptual imagination.

Co – creation as a complex process. Creation in the case of a young people groupe is an experiment, discovering something new. This experience is close to creation as creation, a certain evolution that emerges from the hand of a young designer. Premiere design works allow you to feel the essence of being a creator and even get closer to the idea of ​​creation as evolutionism.

Co – creation as a complex process. Creation in the case of a young people groupe is an experiment, discovering something new. This experience is close to creation as creation, a certain evolution that emerges from the hand of a young designer. Premiere design works allow you to feel the essence of being a creator and even get closer to the idea of ​​creation as evolutionism, that is, to consider the very question of materialism. Is it even possible to cross the border of the state, form or even other states available to us an infinite number of times, but without changing our own and other natures?

FU BROOCHE V, FU BROOCHE VII, OSK BRACELET III, OSK BRACELET II, OSK BRACELET III, OSK BRACELET V, OSK BRACELET, OSK NECKLACE VII,OSK Rings V,OSK Rings VII.

The intuition of the form accompanying the preparatory process is vague and it is impossible to determine a straight path to the objective. The material of the work belongs to our common world, and the creator assimilates the material in a specific way to return it to the world in a new form. If the creation does not concern a living being, this animation gains thanks to the creative factor.

The intuition of the form accompanying the preparatory process is vague and it is impossible to determine a straight path to the objective. The material of the work belongs to our common world, and the creator assimilates the material in a specific way to return it to the world in a new form. If the creation does not concern a living being, this animation gains thanks to the creative factor. In the processes of conscious creation, the creator transfers part of his own energy to the matter. If he takes it too brutally, he takes away its typical nature, destroys it, kills it. Approaching matter with empathy, an act of co-creation takes place.

Darwin was right – kindness, cooperation and communication – not competition, dominance and being the alpha – ensure our survival. Thinking about evolution and natural selection as survival of the fittest has done a lot of damage to the environment we live in. When we turn off kindness towards nature, we forget that we are closely related to it.

Darwin was right – kindness, cooperation and communication – not competition, dominance and being the alpha – ensure our survival. Thinking about evolution and natural selection as survival of the fittest has done a lot of damage to the environment we live in. When we turn off kindness towards nature, we forget that we are closely related to it. Ecology has become a kind of social declaration towards life. The question is whether we really open up to new solutions, or whether we close ourselves in the space of appropriation.

The concept of visual communication of the sixth issue of the Powidoki magazine devoted to ecodesign issues is to note to the closed circuit in design. The circular economy assumes the reuse of products, just as earthworms do in nature – they process leftovers from which compost is created – a rich source of organic matter.

The concept of visual communication of the sixth issue of the Powidoki magazine devoted to ecodesign issues is to note to the closed circuit in design. The circular economy assumes the reuse of products, just as earthworms do in nature – they process leftovers from which compost is created – a rich source of organic matter. Bio-creation with living organisms has become a visual allegory for the reuse of waste. Earthworms lived with us in the editorial office and actively participated in the creative process, "jumped" on themagazine cover creating an "eco slogan".

The project was created to find a natural, environmentally friendly material that would be suitable for use on an industrial scale and at the same time would be a substitute for harmful plastics. One of the most sustainable materials in the world is cork, and one of its properties is antibacterial.

The project was created to find a natural, environmentally friendly material that would be suitable for use on an industrial scale and at the same time would be a substitute for harmful plastics.

         One of the most sustainable materials in the world is cork, and one of its properties is antibacterial. After a series of experiments, I started cooperation with the Corkpol company and the Lodz University of Technology, which contributed to the development of final composites. An example of its use has become a clothes rack, because hangers are a big environmental problem in the fashion industry.