Romantic Brutalism by Vogue Polska

At Visteria Foundation, we’re all about celebrating Polish art, craft, and design. We are keen to support artists in these fields and encourage them to connect and share ideas. We founded the Visteria Foundation because we deeply appreciate Polish craftsmanship and are inspired by the creativity of Polish designers and artists. We aim to help them gain international recognition.

To this end, Vogue Polska has long been the patron of the Polish Pavilion at the Venice Art Biennale, a partner of the Zachęta National Gallery of Art, the Museum of Modern Art in Warsaw, and the Adam Mickiewicz Institute. Creating the Visteria Foundation is the next logical step in our mission to make a significant and lasting impact.

FOUNDER

Katarzyna Jordan

FOUNDATION COUNCIL

Federica Sala

Anda Rottenberg

Tomek Rygalik

FOUNDATION BOARD

Hanna Rydlewska Szymon Machnikowski

KATARZYNA JORDAN

An important aspect of the Foundation’s endeavours is organising exhibitions presenting the most interesting aspects of Polish art and design. Our inaugural show “Romantic Brutalism. A Journey into Polish Craft and Design” will take place in April 2025, during the Salone del Mobile fair in Milan. The exhibition and the accompanying programme of events will introduce international audiences to key trends in Polish crafts and collectible design. It will also allow viewers to explore the evolution of Poland’s aesthetics and motifs, from tradition to modernity, and take them on a comprehensive journey into the heart of “Polish style.”

ROMANTIC BRUTALISM. A JOURNEY INTO POLISH CRAFT AND DESIGN.

Presented by Visteria Foundation Curated by Federica Sala

When Poland re-emerged on the world stage in 1918, following over a century of foreign rule, it sought to acclaim its identity by participating in the 1925 Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris. To celebrate the centenary of that event, the newly established Visteria Foundation, founded by the publisher and patron of arts Katarzyna Jordan, has coordinated a showcase of Polish craft and design at Milan Design Week.

Newly established Visteria Foundation aims to help the creativity of Polish designers and artists gain international recognition. Katarzyna Jordan, together with her team, has long been the patron of the Polish Pavilion at the Venice Art Biennale, a partner of the Zachęta National Gallery of Art, the Museum of Modern Art in Warsaw, and the Adam Mickiewicz Institute.

The inaugural show will take place in April 2025 during Milan Design Week. The exhibition, curated by Federica Sala, and the accompanying programme of events will introduce international audiences to key trends in Polish crafts and collectible design, allowing viewers to explore the evolution of Poland’s aesthetics and motifs from tradition to modernity.

Organised with the invaluable support of Polish institutions, including the Adam Mickiewicz Institute, the exhibition will pro-

vide a comprehensive overview of the new generation of Polish designers, connecting their work to the rich history and lineage of Polish craft and design.

Through a series of curated encounters, the exhibition will underscore the importance of themes relating to nature and post-nature, and how historical influence of brutalism, romanticism, decadence, folk, and art deco continues to shape contemporary Polish design culture. The objects created by twenty-three selected designers will be presented in sections that emphasize the role of materials such as wood, glass, ceramics, steel, as well as lace and textiles.

A unique exhibition design, created by Zuza Paradowska from Paradowski Studio, resembling a theatrical set, will transform ten rooms, one outdoor terrace, and two corridors into a captivating experience.

“The ambition of this exhibition is to introduce the world to the rich tapestry of Polish design, going beyond famous names to reveal the lineage connecting its history to the present day. The aim is to illustrate how concepts such as nature, eternity, and transformation, and styles such as brutalism, romanticism, decadence, folk, and art deco are being reinterpreted and reimagined today, resulting in intriguing fusions, such as romantic brutalism or post-natural decadentism.”, said Federica Sala, curator of the Milan Design Week exhibition.

Following its debut in Milan, the exhibition will travel to Warsaw and will be presented at the historic Gawroński Villa, which will become the permanent home of the Foundation and a private art and design museum.

FEDERICA SALA

Independent curator and design advisor, Federica Sala has made design the gravitational centre of her life.

With an interdisciplinary approach, she is in constant dialogue with art, architecture and publishing in relation to exhibitions, commercial or informative projects.

Highly curious by nature, she firmly believes in the power of transformation, which she has made into a pillar of her profession.

Born in Milan, but with extensive experience gained in France, she worked for five years in the design department of the Centre Pompidou in Paris working with high-calibre designers such as Philippe Starck and Ettore Sottsass Jr, as well as with Fabrica, the research centre of the Benetton group. After this came the Enel Contemporanea years, working on a project for H+ together with Francesco Bonami, which resulted in her working with, among others, Carsten Höller and the Starn brothers.

Between 2010 and 2019 she co-founded and co-directed PS, one of the first agencies created to unite content and communication. PS curated the ‘Object’ section of the Milan International Fair of Modern and Contemporary Art (miart), the exhibitions of the 5VIE Art+ Design district (Max Lamb, Raw-Edges, Sabine Marcelis, Matteo Cibic) and the artists’ residences (Italian villages) project for Airbnb.

FEDERICA SALA

In 2018, together with Patricia Urquiola, she curated the monographic exhibition dedicated to the Triennale di Milan, which was followed in 2021 by the exhibition: Giulio Castelli. La cultura imprenditoriale del sistema design, marking the opening of the ADI Design Museum.

She currently continues to work as an independent curator collaborating in Italy and abroad with Italian and international institutions and agencies such as Buccellati, Dolce&Gabbana, Cassina, Rizzoli International, Six Senses, Venini and Assab One, focusing on the transversality of the various disciplines related to the world of design. Last but not least, in July 2022 she became the Editorial Director of the quintessentially eclectic magazine ‘The Good Life Italia’.

ZUZA PARADOWSKA

Studied design at Central Saint Martins College in London and in the renowned Fashion Department of Royal Academy of Art in Antwerp. The education has influenced how important role in her work plays research, craftsmanship and innovative design language.

Her first professional experience Zuza gained working for Raf Simons and Alexander McQueen. She then focused on working as an assistant alongside stylists Katie Grand and Panos Yiapanis, participating in consulting creative strategies and fashion shows for brands such as Louis Vuitton, Prada, Givenchy and Rick Owens. At the time she collaborated with magazines including British Vogue, Love Magazine, Dazed&Confused or Another Magazine. She works in multidisciplinary manner, drawing on her extensive experience and constantly searching for new paths within her field. Her practice encompasses interior design, furniture design, fine art and refuses to be constrained a single discipline or a defined way of working. After returning to Poland she co- founded Paradowski Studio.

ZUZA PARADOWSKA FOR VISTERIA FOUNDATION

Zuza designed the exhibition space, presentation and experience for the upcoming Visteria Foundation showcase at the Milan Design Week. The story behind will invite you to discover the polish design heritage presented in a refreshed way and curiously walk into the future.

CONTEMPORARY ARTISTS:

Jan Ankiersztajn

Anna Bera

Marek Bimer

Zofia Chylak

Monika Dąbrowska-Picewicz

Derive

Formsophy

Maciej Gąsienica-Giewont

The Good Living & Co

Kasia Harasym

Hasik Design

Marcin Kuberna

Kasia Kucharska

Mikołaj Moskal

Aleksander Oniszh

Agnieszka Owsiany

Monika Patuszyńska

Jakub Przyborowski

Marcin Rusak

Filomena Smoła

Splot Kilim

UAU Project

UNISM

Aleksandra Zawistowska

HISTORICAL ARTISTS:

Magdaena Abakanowicz

Krystyna Wojtyna Drouet

Zbigniew Horbowy

Jerzy Słuczan Orkusz

Jolanta Owidzka

Antoni Rząsa

Olgierd Szlekys

Henryk Albin Tomaszewski

Lubomir Tomaszewski

Władysław Wincze

Władysław Wołkowski

Irena Żmudzińska

1 Jan Ankiersztajn

Aluminium Streamlined Desk

ALUMINIUM

2025

COURTESY OF OBJEKT GALLERY

The Aluminium Streamlined Desk is a sculptural piece that embodies fluidity and precision. Crafted by Jan Ankiersztajn, it features a seamless aluminium body, meticulously assembled from hand-shaped panels using traditional coachbuilding techniques. Each weld line is carefully filed and polished, creating a smooth, uninterrupted surface that captures the essence of movement. Drawing inspiration from the bodywork of concept cars and early racing prototypes, the desk reflects the craftsmanship of a bygone era—where complex tubular frames were enveloped in hand-formed aluminium “skins.”

Aluminium Mirror

ALUMINIUM

2025

COURTESY OF OBJEKT GALLERY

Aluminium Mirror takes inspiration from the side mirrors of classic 1960s sports cars, reimagined as a freestanding object. Crafted with precision, it reflects the elegance of early automotive design while embracing the smooth, uninterrupted surfaces seen in Jan Ankiersztajn’s work.

BIO

Jan Ankiersztajn graduated from the Design Academy Eindhoven with a degree in Contextual Design before establishing his studio in Poznan, Poland. Using both traditional and experimental techniques, he creates furniture and sculptural objects. His designs range from seating and tables to jugs and bowls, all of which exude a modern yet primeval aesthetic.

Ankiersztajn’s approach to design is centered on the interplay between workshop constraints and creative ideas. Dedicated to perfecting his craft, he performs all projects independently. He has developed a proprietary technique for constructing objects from aluminum, involving a complex and experimental process that belies their simple forms.

Website: janankiersztajn.com

Mail: jan.ankiersztajn@gmail.com

IG: @janankiersztajn, @objekt_gallery

Anna Bera

OBJECT N.16 from the series Object

HAND-CARVED FROM RED OAK WOOD, COATED WITH NATURAL LINSEED OIL HAND-CUT AND POLISHED MIRROR

2022

Object N.16 is one of the works from the Object series, in which the artist attempts to capture the particular way in which objects exist in space, where an object is somewhat monumental, even ostentatious, appearing suddenly and without justification. Its materiality is overwhelming, and its existence becomes unquestionable, even if it serves no particular purpose. The heavy wooden structure is juxtaposed with a small mirror, which lends the object its function, but because of their scale and proportions, neither of its elements – neither the frame nor the mirror – can fully achieve their intended purpose. Because the mirror is glued to the exterior, the function of the frame is deconstructed, and the frame thus becomes useless, yet it takes the form of a monumental solid wood object, heavy and unwieldy. The entire structure is hand-carved from red oak wood and coated with natural linseed oil, while the mirror is hand-cut and hand-polished.

BIO

Anna Bera (born 1985) is a sculptor and designer from Lechów in the Świętokrzyskie Mountains. She is a graduate of the Academy of Fine Arts in Poznań, a lecturer at the SWPS School of Form in Warsaw, a member of Nów. New Craft Poland, as well as a scholarship holder of the Minister of Culture and National Heritage. She runs her own studio in Warsaw, where she creates predominantly large-format sculptures and utilitarian objects made of wood. In her work, Bera focuses on the sensory perception of the materiality of the world. She searches for a particular way in which objects exist in relation to space and people, and often creates objects that are heavy and bulky or rich in detail and texture, thus almost provoking physical contact. The object’s function is sometimes merely an excuse for making it; the form disrupts the function and turns it into a means of artistic expression, just like shape or colour. Bera’s works have been exhibited in Poland, Europe, USA, and Southeast Asia, including at the Austrian Cultural Forum in New York, the Lapidarium of the National Museum in Prague, the Ditchling Museum of Art + Craft in Ditchling, the Estonian Museum of Applied Art and Design in Tallinn, as well as at numerous festivals and fairs, including Milan Design Week, Wanted Design Manhattan, Collect Art Fair in London, and Stockholm Furniture and Light Fair.

Mail: anna@annabera.com

Website: www.annabera.com

IG: @annabera WORKS

Marek Bimer

Hindenburg

RESIN, METAL, FIBREGLASS

Pirouette

RESIN, METAL

— The shape of this immense, three-meter-long object immediately brings to mind an airship floating in the sky and gives the work its title – Hindenburg . Illuminated and suspended from the ceiling, it looks even more theatrical. It was crafted from hundreds of small pieces of material that the artist works with daily. One could say it is a recycled artwork, as it was made using materials leftover from other sculptures. In the Bimer Light studio, nothing ever goes to waste. The creation of this piece took weeks of meticulous craftsmanship. Artisans, dressed in special suits and masks, worked in glass dust, carefully selecting the perfect fragments to achieve this specific form.

Searching for and refining the perfect form is a key element of Marek Bimer’s work. This particular piece combines several unusual elements. The shape, delicacy, and transparency of the lower part may resemble fabric. Meanwhile, in the upper section, the artist has placed horizontal spikes pointing in different directions, making the piece look as if it were in motion, Website: janankiersztajn.com

almost dancing. Light also plays an unexpected role here: a bulb placed in the lower section, subtly disperses light upwards, while the top of the object stays almost entirely in the shadow. This effect brings to mind a stage spotlight, casting a familiar circle of light onto the scene. Taken together, these elements evoke the work’s title, Pirouette .

Marek Bimer (born 1962) is a sculptor, graphic artist, and interior and object designer. He is considered one of the most important contemporary Polish designers and sculptors, and has participated in many exhibitions and competitions in Poland and abroad. Together with his wife, the late painter Anna Gosiewska-Bimer, and their daughters, Natalia and Julia, also artists and designers, they created a home that is both an art studio and a gallery.

Mail: info@marekbimer.com

IG: @bimerlight

Zofia Chylak

Lace piece Daisy, Chylak Heritage Collection

HANDMADE IN BOBOWA BY LACEMAKER JADWIGA ŚLIWA

2025

Lace piece Lily, Chylak Heritage Collection

HANDMADE IN BOBOWA BY LACEMAKER EWA SZPILA

Lace tapestry Lily, Chylak Heritage Collection

HANDMADE IN BOBOWA BY LACEMAKER EWA SZPILA

2025

Bobbi lace

HANDMADE IN BOBOWA

2018

COURTESY OF LACEMAKER EWA SZPILA

The latest collection in our Chylak Heritage project is inspired by the rich tradition of bobbin lace making from Bobowa, a small town in southern Poland. Bobowa lace is known for its fine, airy structures, intricate floral and geometric designs, and the use of linen threads. In collaboration with local artisans, Jadwiga Śliwa and Ewa Szpila, we created a series of lace accessories that refer to traditional Bobowa plant motifs: daisies, lilies, and chestnut tree leaves. The technique and style have been passed on from generation to generation, bringing the town global recognition. The tradition is celebrated every year during Bobowa’s International Bobbin Lace Festival.

BIO

Zofia Chylak is the founder and creative director of the accessories brand Chylak. She was born and raised in Warsaw. Before launching her brand, Zofia trained as an art historian, specializing in the Northern Renaissance. The history of clothing continues to inspire Zofia to this day – she combines the ‘old with the new’ and translates sometimes forgotten traditions into contemporary language. The first Chylak Heritage collection was inspired by the traditional outfits of the city of Żywiec in Southern Poland and the latest – by the rich tradition of bobbin lace making from Bobowa.

Website: chylak.com

IG: @chylak.bags

Monika Dąbrowska-Picewicz

Geo from the series Moments

CERAMICS

2025 Geo bowls are part of the Moments series, which is inspired by shapes and patterns observed in nature and balances between sculpture and functional forms of vessels. — I am fascinated by the organic shapes of stones, I gather them at my favourite riverbank, and bring them back from various more or less distant travels. Shaped by the water, they tell their own stories and, years later, evoke memories associated with a particular place, scenery, and mood. Sometimes they resemble ready-made sculptures. Moments are also moments of making decisions associated with the discovery of ceramic substance, the successive stages of the process constantly suggest new solutions, and I try not to overlook them, the artist explains.

BIO

Monika Dąbrowska-Picewicz is a graduate of the Academy of Fine Arts in Wrocław. She has participated in numerous ceramic exhibitions and symposia in Poland and abroad, including Spain, the UK, France, and Italy. Her works can be found in the collections of: Silesian Museum in Katowice, Historical Museum in Bielsko-Biała, Museo della Ceramica di Grottaglie in Italy, and Museo de Ceramica de l’Alcora in Spain. Since 2021, she has been a member of the Nów. New Craft Poland.

Website: dabrowskapicewicz.pl

IG: @monika.dabrowska.picewicz

Dérive Studio

Dérive Studio - Dynks lamp

STEEL, ALUMINIUM, PETG

2025

Dérive Studio x Zuza Paradowska - Dérive

STEEL, ALUMINIUM, PETG

2025

Crafted from CNC-milled aluminium, steel, and 3D-printed PETG, this installation represents the essence of Dérive Studio. Its modular structure demonstrates how their approach to 3D printing and fabrication serves as a tool for collaboration with architects and designers. — Like water, we adapt, taking the shape of any idea, any context. This structure is not just an object; it is a framework for creative flow. A space where concepts evolve, shifting form through process, until they reach their final shape, explain the founders of Dérive Studio. This installation was created in collaboration with Zuza Paradowska. Together, the artists redefined the potential of their tools, elevating 3D printing and modular systems to a new level of expression and functionality.

BIO

Dérive initially began as a project and evolved into a design studio, founded by Adam Skotarczak and Jan Gliński, two friends from Szczecin, Poland, who combine their diverse interests and visions. Adam seeks to redefine the repetitive and robotic nature of 3D printing by creating organic shapes and making the process more unpredictable. Meanwhile, Jan develops a modular stainless-steel system in multiple sizes – the AXI3 system – which allows him to assemble various structures that serve as a core for their creations. Their partnership results in minimalistic, simple, and honest objects designed to suit both public and domestic spaces.

Mail: hello@derive.studio

Website: www.derive.studio

IG: @____derive

Formsophy

Alicja Prussakowska and Jakub Kijowski

Ylva CAST ALUMINIUM, MARBLE, MOONSTONES

2025

A long, flowing surface cast from recycled aluminium reflects the movement of water, with moonstones embedded like scattered river stones. The solid marble legs, veined with black, transition into cast aluminium forms that resemble a continuation of the stone. A monolithic form with subtle details: an expression of romantic brutalism, the signature aesthetic of the Formsophy duo.

BIO

Formsophy is a duo formed by Alicja Prussakowska and Jakub Kijowski , who create sculptural objects in which intuition and experimentation play a key role. Working with aluminium and stone, the artists explore the technique of casting, treating the process on par with its effects. Each of their objects is unique: not just a mere form, but rather a record of the energy of a particular moment, the interaction between materials, and spontaneous creative decisions. Prussakowska and Kijowski describe their style as romantic brutalism. Their pieces, characterised by a raw and primal aesthetic, conceal subtle details. Their beauty is born from the tension between opposites: wildness and finesse, chance and intention, monumental character and intimacy of form.

Mail: contact@formsophy.com

Website: formsophy.com

IG: @formsophy

Maciej Gąsienica

Giewont

Object no. 1

MANUAL LATHE-TURNING TECHNIQUE, OAK

2025/5

Object no. 2

MANUAL LATHE-TURNING TECHNIQUE, OAK

2025/6 —

The central part of the vessel has been symbolically carved out, bringing the focus to its exterior. Precise, deep grooves have been cut into its thick wall, creating flat rings. As the wood dries naturally, it deforms in unpredictable ways, giving the form a unique, dynamic character. The entire process is a harmonious dialogue between craftsmanship and nature, in which the natural process of drying determines the final shape of the object.

BIO

Maciej Gąsienica Giewont (born 1974) is an artist and craftsman who creates unique functional objects with the use of the lathe-turning technique. He combines traditional woodworking methods, minimalist aesthetics, and harmony with nature and works in damp wood, exposing its natural imperfections: knots, cracks, and discolouration. In the artist’s work, matter and natural processes play a key role, rendering each project unique, with its final shape determined by the power of nature.

Website: giewont.studio

IG: @giewont_studio

The Good Living & Co

Monika Szyca-Thomas – Meadow Chair

STAINLESS

STEEL, LINEN 2024

The MEADOW chair is the first design by The Good Living&Co. brand. The prototype was created in spring 2019. A ruffled cushion, which brings a romantic touch to this minimalist design, was added to celebrate the brand’s fifth anniversary.

Monika Szyca-Thomas – Artisan Table

STAINLESS STEEL 2024 —

ARTISAN is a stainless steel table inspired by classic ornamental moulding. Thanks to these handmade accents, the raw, rigid steel structure takes on a romantic and sophisticated character.

BIO

Founded in 2019, the Good Living & Co is a local, family-owned workshop passionate about craftsmanship and contemporary and classic design. Its founder, Monika Szyca-Thomas is a self-taught designer coming from a family that has been involved in Polish craftsmanship throughout the past century – from her great-grandfather Tomasz, through her grandfather Tadeusz, who founded a locksmith-mechanical workshop in Towarowa Street in Chojnice in 1957, to her father Tomasz, who is also a master locksmith. In the workshop founded by her grandfather, trained apprentices create unique pieces of furniture – unique and unparalleled, just like the people they are made for. We deeply believe in the timeless character of steel and that handmade, locally crafted furniture has unique value.

So far, the brand presented their work twice during Milan Design Week (Alcova 2023, Alcova 2024, Comune 2024), and has appeared in magazines such as: Vogue Polska, Design Alive, RUM, Ark Journal, and Architectural Digest. The company is also the winner of the Polish MUST HAVE plebiscite for the NEBOO chair (2022) and the “Her.Itage” collection (2023).

Mail: hello@thegoodliving.co

Website: thegoodliving.co

IG: @thegoodliving.co WORKS

Katarzyna Harasym

Nanocrystals

GLASS SLUMPING TECHNIQUE

2025

Nanocrystals is an upcycling project, a series of crystal objects that speak of the passage of time and new life after transformation. The project began after Katarzyna Harasym’s grandmother passed away in 2023. The artists inherited a damaged crystal vase and decided to fire it in the kiln. — I started looking for old crystals to give them a new shape using the slumping technique. My matte Nanocrystals resemble the ghosts of crystal vessels, stretched by time. Each vase is unique and has a different story, Harasym explains.

BIO

Katarzyna Harasym graduated from the Faculty of Glass and Ceramics at the Academy of Fine Arts in Wrocław, studied at the Fundació Centre del Vidre in Barcelona, and worked at numerous glass studios in Spain. She is the laureate of the Glass Review 32 Corning Museum in New York, 2011. The artist currently lives and works in Wrocław, Poland and explores various glassmaking techniques, most preferably using techniques such as gas torch, fusing, and cast. She is a member of Nów. New Craft Poland and the Association of Glass Artists in Poland.

Mail: harasymka@gmail.com

IG: @harasymkaska

Hasik Design Studio

Grzegorz Hasik and Tomasz Krzyżanowski – SOL

RAW ALUMINIUM AND HAND-FIRED AND COLOURED GLASS

2025

Sol is a timeless light object whose simplicity disguises a depth of light and shadow. It is made of raw aluminium and hand-fired coloured glass and provides atmospheric, analogue light whose source is the natural flame of a candle, penetrating the structure of the glass disc and enhancing its texture and highlighting its serrated edge.

BIO

Hasik Design Studio, consisting of Grzegorz Hasik and Tomasz Krzyżanowski , specialises in the design and manufacture of original objects – furniture, lighting, accessories –which the artists describe as ‘jewellery for interiors’. The duo believe in durability and timelessness, and design objects that will last for generations. All their creations are based on archetypal forms – the circle or rectangle with a simple joint. The artists appreciate the natural beauty of wood, stone, glass, and the patina that coats metal surfaces.

Website: hasik.design

IG: @hasik_design

Joanna KotomskaZatońska, Filip Niedenthal

Kowalski

MIXED MEDIA

2025 Kowalski is an annual capsule of Polish art, past and present. This, the inaugural issue, comprises collectible artworks and exclusive publications, as well as essays and even a short story, all somehow touching on the theme of “przedwiośnie” - the Polish term for the anticipation of spring. We have included a handmade collage of petals and leaves commissioned from the artist Przemek Branas; a photographic print of an image taken by Chris Niedenthal in 1978, portraying the ancient ritual of the drowning of a straw doll, signifying the end of winter; a collection of the paintings of the nonprofessional artist Katarzyna Gawłowa, who was discovered in the 1970’s, towards the end of her life; an abstract map of Polish “national resources”, by which the artist Tymek Jezierski means the stereotypical character traits of the average Pole; a set of postcards featuring drawings from the 1950s by the illustrator Wanda Zawidzka-Manteuffel; and a book of photographs by Joanna Piotrowska, who identifies forgotten Lemko villages in Eastern Poland by the flowering fruit trees that are all that remain. All this in a Jacquard-bound box, and with a logo by Filip Pągowski. Our ambition is for Kowalski to become one of Poland’s calling cards, reaching a global audience and showing our culture in a new light.

BIO

Joanna Kotomska-Zatońska (1983) and Filip Niedenthal (1977) are both Warsaw born and bred. Close friends for over 15 years, prior to Kowalski they collaborated on the first issues of Polish Vogue, where Niedenthal was the editor-in-chief and Kotomska-Zatońska produced many an editorial. This project stems from their pride in Poland and a shared need to showcase aspects of Polish art and culture that may have heretofore slipped under the international radar.

Mail: kowalski@kowalski.art

Website: www.kowalski.art

IG: @kowalski_edition

Marcin Kuberna / GRÔPK

Vessel no.174 from the series Zemia

CLAY, COILING TECHNIQUE

2025

Vessel no.90 from the series Zemia

CLAY, COILING TECHNIQUE

2023 —

Drawing on the earliest method of shaping clay, the work explores archaic paradigms of beauty and strength. The title Zemia, which means ‘earth’ in Kashubian, is a nod to the primordial imagery of this element. By referencing these archetypes, the artist expresses gratitude to his parents for their manual labour and respect for the earth. Exploring ambiguous forms, the vessel appears to have sprung from the earth itself. History seems to come full circle. Even though the artists didn’t follow into his parents’ footsteps, his hands are also tied to the soil.

BIO

Marcin Kuberna (born 1987) is an artist born into a family of farmers in the coastal region of Kashubia. Working the land and respecting nature and its powerful forces have always been an integral part of his life. In his work, Kuberna readily draws on his Kashubian roots and the region’s rich folk tradition. Independently acquired skills in ceramics, developed under the brand name Grôpk, have turned into a journey towards self-discovery, a search for roots and creative independence. His works are a quiet celebration of nature and the work of the artisan.

Mail: marcin.kuberna@gmail.com, gropk.ceramics@gmail.com Website: gropk.com

IG: @gropk.ceramics

Kasia Kucharska

Fading Flowers

HAND-POURED LATEX

2025 Confused Curtain

HAND-POURED LATEX

Troubled Tablecloth

HAND-POURED LATEX

2025

The artwork is an investigation of craft and space, exploring a postmodern take on lace and embellishments as traditional female art.

By employing her signature latex technique, Kasia Kucharska questions traditional manufacturing and craft techniques in order to find contemporary strategies for embellishing our clean and rational modernity.

The installation reclaims ornamentation as a vital form of expression, celebrating the artistry of decorative elements and using it as a tool to reclaim and own spaces.

Kasia Kucharska is a Berlin-based brand, merging architecture and fashion to develop wearable art pieces. The reinvention of traditional craft and technology-driven manufacturing techniques stand at the core of the brand’s designs. With a focus on new ways of making garments and special attention to sustainable and conscious manufacturing techniques, the company pushes the boundaries of conventional fashion design.

Website: kasiakucharska.com

IG: @kasiaku

Mail: mail@kasiakucharska.com

Mikołaj Moskal & Kaja Gliwa

Cutouts

PAPER CUTOUT

2025 The installation is the outcome of an artistic and design collaboration between Mikołaj Moskal and Kaja Gliwa. It is based on Moskal’s imaginarium of signs and references traditional folk cutouts. It combines the artist’s way of working, which is based on intuitive cutting out shapes from paper with simple tools (scissors) with a design activity, i.e., translating the results into a large-format composition. The paper is hand-painted by the artist, which highlights the tonal changes and physical properties of the paper, and a laser cutter replaces the scissors. The resulting cutout forms are grouped together in condensed, horizontal compositions that cover the walls of two rooms. The artist has also manually cut out and painted compositions that have been placed in the kitchen.

BIO

Mikołaj Moskal is a visual artist who mainly creates tempera paintings on paper. An essential element of his work is the process of gathering information and inspiration, upon which he constructs contemplative and harmonious universes. The figures and shapes he creates are reflected in the real world as ideograms of emotions and abstract creations that border on imaginary. Moskal’s works have been presented at solo and group exhibitions in Poland and abroad.

Kaja Gliwa is a graphic designer specialising in visual identification of cultural events and creating publications in the field of contemporary art. Her process is based on research, design thinking, and design intuition. She pays particular attention to the choice of typography, haptics, purposefulness, and a balanced use of colour, and combines the use of digital tools with manually produced elements – illustration or lettering. She is a lecturer at the Faculty of Graphics at the Academy of Fine Arts in Kraków.

IG: @mikolaj__moskal, @kajagliwa

Aleksander Oniszh

Folly Chair

EUROPEAN ASH 2025

Folly Chair

AMERICAN WALNUT

Folly Chair is the result of the artist’s improvised gestures and the work of a mechanical tool whose oscillations and vibrations were imprinted in wood.

BIO

Aleksander Oniszh is a furniture designer and creator of functional art pieces. His designs are characterized by a sensuous approach to form and an unconventional use of tools. He experiments with classical technical solutions and his use of material is based on a deep understanding of the physicality of wood and its structural properties. In making artistic choices, he is guided chiefly by intuition.

Mail: aleksander@oniszh.com Instagram: @oniszh

Agnieszka Owsiany

Campanula candelabra from the series New Regionalism

FORGED STEEL

CREATED IN COLLABORATION WITH PAWEŁ BĄCAL, BLACKSMITH

2025

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The candelabra is the first object created by the artist in collaboration with a blacksmith employing traditional forging techniques. For centuries, elements created in forges have been an integral part of Polish architecture and everyday objects, and artistic blacksmithing was a ubiquitous craft throughout the country. Today, it has almost disappeared in its traditional form. As in folk art, which often referred to nature, the forms of the candelabra cups and the pull-out snuffer reference the shape of Campanula rotundifolia , or bluebells – flowers often found in mountain pastures and meadows.

Curtain from the series New Regionalism

WOOL CURTAIN ON A FORGED STEEL ROD

CREATED IN COLLABORATION WITH PAWEŁ BĄCAL, BLACKSMITH 2024

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The multi-layered structure of the woollen fabric created using the author’s unique technique appears to have been woven, while in fact it was created using the ancient technique of wet felting. This method uses just three elements:

water, soap, and the movement of the human body. The softness of the wool is juxtaposed with a geometric, rhythmic pattern, and the light, delicate texture of the fabric –with the steel structure on which it is mounted. Similarly to other textiles presented by the artists, this one was also made from unique wool from an endemic breed of Polish mountain sheep bred in the Silesian Beskids in southern Poland.

Standing Screen from the series New Regionalism

FELTED WOOL, COLD-FORMED STEEL

CREATED IN COLLABORATION WITH JÓZEF GAŁĄZKA, SCULPTOR

2024 The first in a series of objects in which the fabrics created by the artist are granted a new, functional dimension. The fabric, that would normally adorn a wall, has been placed within space, thus becoming both a utilitarian and decorative object. It is up to the viewer to decide to which category it should be assigned. The fabric, made of raw wool obtained from Polish mountain sheep, was produced using the wet felting technique, and the cold-formed metal structure of the screen was created in collaboration with the Warsaw-based sculptor, Józef Gałązka.

Sundried lamp from the series New Regionalism

FELTED WOOL, HAMMERED ALUMINIUM, STEEL

CREATED IN COLLABORATION WITH PAWEŁ BĄCAL, BLACKSMITH 2025

This is a project inspired by ‘romantic pragmatism’ and simultaneously a record of the residency at Josef and Anni Albers Foundation, during which the sight of her textiles drying on the terrace of the house accompanied the artist every single day.

New Regionalism

New Regionalism is a series of collectibles created in collaboration with craftsmen and artists working with traditional techniques and materials unique to certain regions of Poland and at a risk of being lost forever. The first collection, produced in cooperation with a blacksmith, introduces wool textile pieces created by the artist combined with hand-forged structures, redefining the hitherto purely decorative functions of her textiles. Referencing objects found in archival photos and collections of ethnographic museums, the traditional forms of the objects have been translated into the contemporary language of design. The collection pays homage to Polish 1930s interiors in which folk objects were present, well exposed and celebrated similarly to fine art pieces. During that period, locally crafted ceramics and textiles decorated homes of bourgeoisie as if to celebrate the recently regained independence and to express a strong sense of national identity, leading to a unique amalgam of International Style with folklore accents that served a similar role to today’s collectible design. The term New Regionalism was coined by Barbara Brukalska, a renowned Polish architect and designer. During the interwar period, as the International Style grew in prominence, Brukalska propagated the use of local Polish materials such as brick, stone, sheep skin, and ash wood instead of mass-produced materials like glass and steel.

BIO

Agnieszka Owsiany (b. 1990) is an architect, artist, and designer who runs her own textile-focused design studio. She works with wool from an endemic breed of Polish mountain sheep and pursues the traditional technique of felting. The use of natural colours with an emphasis on the textures and tactility of materials, as well as exposing the traces of the working process, have become the signature elements of her visual language. A series of experimental utilitarian objects – including lamps, seats, and curtains –explores the realm between utilitarian design and collectible art.

Mail: studio@agnieszkaowsiany.com

Website: agnieszkaowsiany.com

Instagram: @agnieszkaowsiany

Monika Patuszyńska

From the series How White is White?

PORCELAIN, PARIAN WARE

2024

COURTESY OF OBJEKT GALLERY

Monika Patuszyńska deconstructs forms and ideas, breaking them down into smaller pieces and assigning them new meanings. Cast traces of past structures become the starting point for constructing a new reality in which chance and imperfection play a key role. It is a process in which destruction becomes a tool of creation.

BIO

Monika Patuszyńska is an artist and curator, explorer of abandoned spaces and unknown paths, member of the International Academy of Ceramics (AIC/IAC). In 1999, she graduated from the Faculty of Ceramics and Glass at the Academy of Fine Arts in Wrocław. She was the last designer at Zakłady Porcelitu Stołowego Pruszków (Pruszków Table China Factory) and the last president of the International Ceramics Symposium, ‘Porcelain Another Way’. Between 2014 and 2016, she held the position of the Artistic Director at the Institute of Design in Kielce. Thanks to cooperation with the New York office of the architect Peter Marino, her works can be found in the Maison Guerlain in Paris, the Chanel salon in Singapore, and the famous Tiffany’s boutique in New York. Monika is addicted to porcelain and fascinated by the passage of time and everything that comes with it.

Website: patuszynska.art.pl

IG: @monika_patuszynska, @objekt_gallery

Jakub Przyborowski

Box with a Hinged Lid

OAK AND AMERICAN WALNUT WOOD 2024

A simple box made of American oak and walnut wood. The body is joined with hand-cut dovetail joints. The hand-textured, tilting lid opens on both sides and remains in an upright position.

Box on a Quadruped

AFRICAN MAHOGANY WOOD 2025

A cubic jewellery box with two removable trays on a four-legged base. Made of African Sapele mahogany wood and board veneered with maple and mahogany. The design of the box is inspired by Japanese Kabuto helmets.

BIO

Jakub Przyborowski is a woodworker by calling. After completing his studies in urban planning, he dedicated his life to craftsmanship. He designs and builds both original and commissioned furniture and functional objects in a small workshop in Warsaw, Poland. He seeks visually simple, yet technically demanding solutions that challenge him and allow him to develop his skills. He actively promotes craftsmanship as the president of Nów. New Craft Poland and as a teacher at a traditional woodworking school.

Mail: przyborowski.jakub@gmail.com

IG: @jakub_przyborowski

Marcin Rusak Studio

Perishable Vase I, II

FLOWERS, SHELLAC, NATURAL BINDERS (TREE RESIN, FLOUR, BEESWAX)

2014

Perishable Vases, cast from real flowers bound with natural agents such as shellac, tree resin, cooking flour, and sugar, provide a commentary on our relationship to material objects and consumer culture. Unless properly cared for in a stable environment, they slowly disintegrate and perish over time. The speed of deterioration is dependent on the environment they are kept in. In common interiors, they flourish, retaining their designated shape. Their owner is their custodian: protecting them from direct sunlight, heat, or moist, observing their slow and quiet life. Just like objects of everyday use, designed with planned obsolescence, the sculptures might have a limited lifespan dictated by the natural processes that overtake them, and, eventually, can blend into the natural environment they came from.

Encoded Symbols 05

THAUMATOCOCCUS DANIELLII LEAVES, RESIN, ZINC, STEEL

2020

Balancing between fragility and rigidity, metal and exotic leaves are combined to make opposing processes –life and death, renewal and decay – clearly apparent. A

load-bearing structure, formed by hand using hand-welded steel, evokes organic shapes and ornate antique furnishings. The entire sculpture is then coated in zinc in a custom metallisation process, which permanently encases the leaves within a thin metal shell.

Flora Cabinet 190 Amber (Trial Proof – 1 of 1)

SELECTED AND PROCESSED FLOWERS AND LEAVES, RESIN, STAINLESS STEEL

FOUNDATION

Based on flowers and resin, the Flora material reflects our desire to preserve the perishable beauty of botanic matter. The material comes as a result of years of research driven by our inextinguishable interests in natural aesthetics and material significance. The process of creating each piece is very labour-intensive as everything from collecting and processing the flowers to finishing the resin is done by hand. Each piece is composed like a painting where we choose flowers for their sculptural qualities, colours, and symbolic significance. Flora Cabinet 190 is inspired by the famed Flora Cabinet by modernist master Josef Frank.

BIO

Marcin Rusak (born 1987) is an artist and multidisciplinary designer interested in the ideas of value, ephemerality, and aesthetics. Focusing on storytelling, process, and material investigation, his work incorporates research, object, installation, and visual creations to explore overlooked details of our lives. As the son and grandson of flower growers, Rusak has been fascinated by natural sources of inspiration and decoration. Engaging them in his creative process began by reusing waste to investigate new decorative elements within everyday objects and led to a rich body of work ranging from research and storytelling, to cultural criticism around consumption and future scenarios.

Website: marcinrusak.com

IG: @marcinrusak

Filomena Smoła

Within from the series “Within”

Filomena Smoła’s pieces evoke the forgotten beauty of objects and decorations that were once present in her and her loved ones’ lives. They are an attempt to recreate the ambiance of homes and landscapes, intertwined with a nostalgic desire for lost moments. They are like detail-rich narratives relating to Polish regions and reaching deep into the past.

The forms created by Smoła are intentional manifestations of inward explorations, blurring the boundaries between art and functional value. Here, the latter is not an aim, but rather a starting point for a deeper, introspective immersion into matter. In her works, the artist strives for the hidden beauty that emerges from the oldest, often forgotten traces of our identity – a kind of beauty that does not avoid loss, but accepts it and becomes an integral part of it.

BIO

Filomena Smoła is one of the few women artists from Poland who blow glass by herself. Having graduated from the Wrocław Academy of Fine Arts, she won an MA scholarship to study at the oldest glass institute in the United States, Kent State University, where she currently works and lectures. Filomena has also received the New York Uran Glass grant and a Bocci Design and Manufacturing Company residency grant. She is a winner of the Glass Review 43, Corning Museum in New York. Her work has been exhibited at numerous group and solo shows in Poland and abroad.

IG: @filomenasmola, @objekt_gallery

Splot -Józef Czajkowski & Zofia Stryjeńska

Splot - Józef Czajkowski – Paris kilim

COTTON, RECYCLED WOOL

ORIGINAL PROJECT: 1925

COURTESY OF SPLOT —

Józef Czajkowski created the Paris kilim for the Polish Pavilion he designed at the 1925 Paris Exhibition of Decorative Arts. The pattern of the fabric is synonymous with Art Déco, although it clearly conveys the memory of Art Nouveau. Czajkowski’s Paris kilim is reminiscent of Eastern carpets, referring to the Polish tradition of fascination with Middle Eastern design.

Splot - Zofia Stryjeńska – Meadow kilim

COTTON, RECYCLED WOOL

ORIGINAL PROJECT: 1920S

COURTESY OF SPLOT

Meadow kilim designed by Zofia Stryjeńska employs a pattern that relies on the Zakopane style fashionable during the interwar period. Although the fabric appears to depict a folk motif, it is in fact a fantasy on the theme of folklore, created by an artist who came from the circles of the urban

intelligentsia. The kilim’s pattern comes from the archives of Professor Szulga, who, in collaboration with Splot, is reviving weaving in Gliniany – a village in western Ukraine, 50 kilometres east of Lviv, where the largest kilim-weaving centre in Austro-Hungarian Galicia and later in the Second Republic of Poland operated from the second half of the 19th century. Meadow is characterised by vivid colours and a dynamic composition concealing subtle nuances. It is worth noting the characteristic feature of Gliniany kilims, which is a background made of wool dyed “at three ends’, giving the effect of rippling on the surface of the fabric.

BIO

Józef Czajkowski (1872–1947) born in Warsaw, was a versatile artist: painter, architect, and designer. One of his greatest achievements were his successes at the 1925 Paris Exhibition of Decorative Arts: a gold medal in architecture and objects presented in the Polish Pavilion and at the Grand Palais exhibition, including the Paris kilim.

Zofia Stryjeńska (1891–1976) was a Kraków-born Polish painter, illustrator, and graphic artist. She was, along with Tamara Łempicka, one of the most popular Polish Art Déco artists, and was referred to as the “princess of Polish painting”. She exhibited her works at the 1925 Paris Exhibition of Decorative Arts, was awarded at the Venice Biennale, decorated the interiors of Polish transatlantic liners, and designed kilims, as well as textiles for the Emperor of Japan.

Przemysław Cepak (b. 1986) is devoted to the restitution, promotion and development of kilim art in Poland and Ukraine. He is the creator and artistic director of the Splot brand, which weaves historical as well as contemporary designs.

Website: splotkilim.com

IG: @splotkilim

UAU Project: Justyna Fałdzińska & Miłosz Dąbrowski

Vase no. 1 – Sailor’s Embrace from the collection Wild at Heart

PLA BIOPLASTIC 2025

Vase no. 2 – Lula’s Whisper from the collection Wild at Heart

PLA BIOPLASTIC 2025

Wall decoration – Wild Hearts Illuminated from the collection Wild at Heart

PLA BIOPLASTIC 2025

The Wild at Heart collection is a tribute to the untamed nature of creation – wild, unpredictable, yet meticulously shaped by technology. Each piece in this series – from sensual, subtly charged vases to an expressive wall decoration and a candleholder that pulses with light – emerges at the intersection of algorithmic precision and instinctive artistry. Manufactured with the use of 3D printing technology, these forms come to life through hand-finishing and colouring, where colour becomes emotion and structure turns into rhythm. This is a story of passion captured in form, of light trembling upon its surface, of a perfect harmony forged between chaos and order.

Vellaria from the collection Vellaria

PLA BIOPLASTIC

2025 —

Lamps Pendula from the collection Pendula

PLA BIOPLASTIC

2025

Lamps

BIO

UAU Project is a design studio based in Warsaw, Poland, founded by Justyna Fałdzińska and Miłosz Dąbrowski who specialize in creating unique and innovative functional art pieces using 3D printing technology. Their work combines a high level of craftsmanship with cutting-edge technology, resulting in visually stunning and functional designs that push the boundaries of what is possible with 3D printing. Over the years, UAU Project has gained international recognition for our work, with pieces showcased in galleries, museums, and private collections around the world.

Website: uauproject.com

IG: @uauproject

UNISM

FLUID: Small Bowl – Aged Brass

SAND CASTING

MARCH 2025

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FLUID: Small Bowl – Polished Brass

SAND CASTING

MARCH 2025

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FLUID: Tall Side Table – Brushed Aluminium

SAND CASTING

MARCH 2025

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This Side Table is made using sand casting, designed to fit seamlessly with sofas and armchairs. It serves as an ideal place to set down a drink or book. The table surface is hand-brushed, offering a distinct texture. As with all sandcast products, small imperfections from the casting process make each table unique.

FLUID: Large Tray – Textured Aluminium

SAND CASTING

2024

The Fluid Tray is crafted using sand casting. Its size is perfect for holding your favorite items. The surface features a subtle, elegant recess that combines both functionality and aesthetic appeal. The texture of the tray reflects the raw beauty of the sand casting process.

FLUID: Large Tray – Blackened Aluminium

SAND CASTING

SEPTEMBER 2024

The Fluid Tray is crafted using sand casting, designed to accommodate your cherished items. Its surface features a delicate, elegant recess that merges practicality with visual appeal. The original color of the tray is achieved through a special method developed by us, giving it a unique blackened finish.

FLUID: Large Tray – Blackened Aluminium

SAND CASTING

SEPTEMBER 2024

FLUID: Small Bowl – Polished Brass

SAND CASTING

DECEMBER 2024

The Fluid Bowl is made using the sand-casting technique. Its organic design, with three distinct recesses, makes it perfect for both decorative and practical uses, ideal for storing and displaying various items. The surface has been polished to enhance its visual appeal.

FLUID: Small Bowl – Aged Brass

SAND CASTING

DECEMBER 2024 —

The Fluid Bowl is crafted using the sand-casting method. Its organic design, featuring three distinct recesses, makes it suitable for both decorative and practical purposes, perfect for holding and showcasing various items. The surface has been oxidized, giving the brass a darker, more aged appearance.

BIO

Unism Store creates furniture that embodies a classic aesthetic, defies conventional eras, and blends nostalgic charm with a futuristic vision. Their designs combine traditional craftsmanship and modern digital techniques: they are simultaneously timeless and innovative, celebrate heritage, and push the limits of contemporary aesthetics. Each piece tells a different story of art and design thanks to the use of lush materials that enhance the users’ tactile and aesthetic experiences.

Mail: info@unism.store

Website: unism.store

IG: @unism.store

Aleksandra Zawistowska

Szkło Studio - Glasses

HAND-BLOWN GLASS SCULPTURES

2024

COURTESY OF OBJEKT GALLERY

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Contrary to popular belief, sculptures contain many rough, irregular surfaces, and air voids. These elements give depth to the material, which ceases to be just a form, but also becomes a structure, space, encourages you to take a closer look and reflect on the creation process. Szkło Studio is a deconstruction, perfection in non-perfection, a fresh look at the potential of the material. With an element of spontaneity in design. Aleksandra Zawistowska’s fascination with glass stems from its natural contradiction – the transformation from hot, liquid magma into a brittle sculpture. She approaches each piece with care and attention, trusting that the fluid nature of the material makes it the best sculptor. Breaking with traditional aesthetic tradition, she turns the creation process into an experiment. Not using standard moulds, the sculptures take on spontaneous shapes, often escaping the canon of beauty.

Szkło Studio in collaboration with Lindsey Fontijn

HAND-BLOWN GLASS SCULPTURES, GEMSTONES, SILVER

2024

COURTESY OF OBJEKT GALLERY

This collaborative journey is an ongoing conversation, primarily rooted in Amsterdam where the artists met, while also transcending geographical boundaries, extending across the Netherlands, Poland, and Czech Republic. The dialogue between artists Aleksandra and Lindsey is showcased through a collection of Goblets intricately crafted from glass, silver, and natural gemstones. These hand-crafted pieces bring together diverse expertise, techniques, and distinct materials.

Each Goblet is made to share festive moments. The core of this collaboration is the profound representation of intimacy and connection. These glasses not only offer the essence of togetherness, but their two crafts and experiences take it to innovative heights, where the materials of these cups resonate with shared experiences between the makers. This collection is an emphasis of artistic friendship, where each goblet bears the imprint of their shared passion and hands-on synergy.

Aleksandra Zawistowska is an artist and designer. She studied in Warsaw, Lisbon and Amsterdam, runs Szkło Studio, is listed in AD100 Poland, a finalist of Kunszt Programme of Starak Family Foundation, and a scholarship holder of Brooklyn’s Urban Glass. Her works have been presented in Poland and abroad. Aleksandra’s design process is highly organic and intuitive. Drawing inspiration from nature, geology, and the built environment, her work merges the realms of science and culture.

Lindsey Fontijn is a Dutch jewellery designer. She creates her works in her own studio in Amsterdam. In 2014, she graduated with a goldsmith diploma from the Vakschool in Schoonhoven and in 2018, from the Jewellery Department at Gerrit Rietveld Academy. She started her own brand in 2018 and since then has exhibited all over the world.

Aleksandra Zawistowska

www.szklo.studio

ig @szklo.studio @ale.zawistowska, @objekt_gallery

Lindsey Fontijn

www.lindsyfontijn.com

ig @lindsey.fontijn

2 HISTORICAL SELECTION

Magdalena Abakanowicz

Orchid Brown

SISAL, WOOL

1975–1977

PRIVATE COLLECTION

BIO

Magdalena Abakanowicz (1930–2017) was one of the most widely recognized Polish sculptors, whose unique approach transcended the discipline. Akakanowicz’s 1960s spatial textiles, or soft sculptural forms that later became known as the Abakans, were the artist’s first defining achievement. They combined the artist’s fascination with loosely falling canvas and vivid colour expression. Abakanowicz was also drawn by the texture of matter: the Abakans, made of dyed sisal fibre, stunned with their amplified organicity.

Krystyna Wojtyna-

Drouet

Trees

TAPESTRY: LINEN, WOOL, SISAL

1965

COURTESY OF THE CENTRAL MUSEUM OF TEXTILES IN ŁÓDŹ

BIO

Krystyna Wojtyna-Drouet (born 1926) is an artist working in textiles who has developed a distinctive style that incorporates predominantly figurative motifs. She was one of the first weavers to use sisal fibre alongside wool, and included ceramic and metal elements in her tapestry realisations. She has taken part in numerous Polish and international exhibitions, and her works can be found in museums and private collections all over the world.