photo: Weronika Trojanowska
photo: Weronika Trojanowska
Revolve, photo: Weronika Trojanowska
Volute, photo: Weronika Trojanowska
Axis, photo: Weronika Trojanowska
Axis, photo: Weronika Trojanowska
This is a retrospective of the work of avant-garde artist Marian Szpakowski, creator of the relief on the façade of the BWA Zielona Góra building. Oskar Zięta and his design team undertook the process of translating the bas-relief into a spatial form visible from all sides. It is an in-depth analogue of the period of Szpakowski’s work from 1968–1978, in which the artist transformed the previously dominant illusion of three dimensions into the realization of the desire for real three-dimensionality. It is a tribute to the fascination with the language of geometry articulated by Szpakowski, to which Oskar Zięta lends his grammar. This is an idiom often used by Zięta in executing sculptures such as NAWA, KRAKEN, WIR or URBAN CRYSTALS, which will also be hosted within the walls of the Museum of the Lubuskie Region.
photo: Weronika Trojanowska
is a narrative about the utility potential of generative design. A juxtaposition of functional objects with an exploration of their material potential. These sculptural objects that provoke the senses are the result of many years of research into the properties of metal. They owe their discrete deformations to the proprietary FiDU method of forming steel with internal pressure. These are objects present at MoMA in New York and the Centre Pompidou in Paris and recognized with world-renowned awards such as the Red Dot Award: Product Design 2021 and the Materialica Design + Technology Award.
is a multi-meaning story about the processes taking place in art, design and generations. It’s a story of continuous optimization, improvement, designing the future, ecology (increasing manufacturing efficiency), and progress.
Chippensteel Table, photo: Weronika Trojanowska
Lagom Table, photo: Weronika Trojanowska
photo by Laura Korzeniowska