Designers in Seoul
Designers in Tokyo
Designers in Taipei
Column Four
Light Installations
Ksawery Kirklewski is creative coding and new media artist.
Author of interactive light installations, music videos, generative animations, phygital sculptures, and realizations in public space. In his activities, he uses new technologies, programming and advertising media, focusing mostly on the digital and generative art field.
His most recent projects include: interactive light installations FLUX (Miami Art Week 2022, Signal Festival Prague 2023, Vilnius Light Festival 2024), ENTER (NXT Museum Amsterdam, Khroma New Media Museum in Berlin) and LOTUS (LOTUS brand store on Paris Fashion Week 2023); music video Symphony in Acid (Max Cooper); collectible phygital sculptures CTRL_DAT (Kate Vass Gallerie in Zurich), Digital/Analog Mirror, and BANNERS.
I have the impression that design culture in Poland has been changing in a good way over the last few years. Increasingly, clients see value in what we do and appreciate it. Of course, there will also be people who do not fully value our work, in which case it is better to let such a project go.
As someone who studied design at a university in Korea, I’ve observed that there are a vast number of design schools in the country. Considering Korea's population size, the number of design graduates is quite substantial. I find this to be an interesting fact when it comes to understanding the Korean design scene.
Poland's design culture is deeply rooted in its rich history and traditions, blending modern aesthetics with folk art. One aspect that people from other countries might not know is the strong influence of Polish Poster Art, which emerged in the mid-20th century and is characterized by its unique combination of simplicity, bold colors, and surreal elements. Additionally, Polish designers often draw inspiration from the country's turbulent history and diverse architecture, creating works that are both innovative and reflective of Poland's cultural heritage.
The typsetting is unique. The ability to use hiragana, katakana, kanji, and alphanumeric characters in both vertical and horizontal writing is, we feel, unique in Japanese design culture.