https://guillaumeslizewicz.com/ Recent content on Guillaume Slizewicz Studio Hugo -- gohugo.io en-us https://guillaumeslizewicz.com/studio/medusa/ Wed, 20 May 2026 14:22:00 +0200 https://guillaumeslizewicz.com/studio/medusa/ Medusa is a kinetic sculpture of seven LED propeller-fans (gadgets normally used to spin advertising slogans into the air) rewired to display flora and arrayed around a single Arduino, giving the piece the silhouette of a drone whose own thrust is too feeble to lift it. Suspended from the ceiling, it hovers only in suggestion: machines writing each other letters of light, robots sending each other flowers. The work takes its bearings from Gramsci(1930): “The crisis consists precisely in the fact that the old is dying and the new cannot be born; in this interregnum a great variety of morbid symptoms appear. https://guillaumeslizewicz.com/studio/tesselles/ Fri, 26 Sep 2025 18:00:00 +0200 https://guillaumeslizewicz.com/studio/tesselles/ At Curated 2025, curated by Lionel Jadot at Mix Brussels, a fourth mosaic panel was presented in collaboration with artisan Françoise Lombaers. The work explores what happens when algorithmic processes meet traditional craft constraints. Using an implementation of the Prim-Jarník algorithm—typically used in computer science to find minimum spanning trees in weighted graphs—computational logic is translated into physical mosaic patterns. Lombaers works exclusively with square tiles that are never cut, a technical limitation that shapes the visual outcome as much as the algorithm itself. https://guillaumeslizewicz.com/studio/shovels/ Mon, 22 Sep 2025 18:00:00 +0200 https://guillaumeslizewicz.com/studio/shovels/ For Shifting Ground, co-curated by studio minimètre and Béatrice Vancaillie, three pieces respond to the exhibition’s theme through different registers of displacement. Ground shifts in multiple ways: sometimes it rolls, sometimes it jumps, and sometimes it disappears entirely beneath people’s feet. Roulé A bent wood circle mounted on a shovel head. Where the following piece jumps, this one simply rolls. The piece plays with ideas of circularity and labor: a wheel made functional by being attached to the very tool meant to stay put in the ground. https://guillaumeslizewicz.com/studio/digital-solitude/ Fri, 29 Aug 2025 18:00:00 +0200 https://guillaumeslizewicz.com/studio/digital-solitude/ Digital solitude Digital Solitude is a site that runs for one person at a time. When a second visitor arrives, it stops for everyone. The page keeps no cookies and stores nothing after you leave. Your presence is the condition for its existence. https://guillaumeslizewicz.com/studio/resonances/ Mon, 07 Jul 2025 14:52:00 +0000 https://guillaumeslizewicz.com/studio/resonances/ After twenty years restoring heritage mosaics, Françoise Lombaers joins Guillaume Slizewicz to explore unmapped territory. Four algorithms—drawing from fungal networks, fractal patterns, and cellular automata—become mosaics where square tesserae generate unexpected organic movements. A quiet investigation into how ancient techniques might evolve. Mosaic demands years of training. Its practitioners grow fewer as creators turn to digital tools. Rather than resist this shift, Lombaers and Slizewicz ask what happens when these worlds meet: algorithms mapping territories the hand cannot reach, while mosaic’s material weight grounds computation in physical space. https://guillaumeslizewicz.com/studio/neuralfog/ Mon, 07 Jul 2025 10:45:00 +0000 https://guillaumeslizewicz.com/studio/neuralfog/ Carbon Technostructure traces the material weight of immaterial systems. A modified plotter, glass panel, and steamer work in concert to render visible what typically remains unseen: the environmental cost of computational processes. Steam condenses on glass, creating an ephemeral drawing surface. An empty marker moves across this temporary canvas, inscribing patterns derived from real-time energy data. These marks exist only as disruptions in condensation, fading as quickly as our attention to digital infrastructure’s environmental impact. https://guillaumeslizewicz.com/studio/ghosts/ Wed, 02 Jul 2025 17:24:00 +0000 https://guillaumeslizewicz.com/studio/ghosts/ A two-room exhibition revisiting the architectural and artistic heritage of the Darvas House in Oradea The winter garden owns an installation called “All I can see are ghosts”, paying tribute to the displaced civilians of Oradea’s recent history and more specifically to the fate of Oradea’s Jewish community during the Holocaust. In the span of a few years, Oradea’s Jewish community, a good fourth of its total population, was decimated. Only a few hundred returned from the death camps. https://guillaumeslizewicz.com/studio/fragmentedmemories/ Tue, 04 Mar 2025 15:47:00 +0000 https://guillaumeslizewicz.com/studio/fragmentedmemories/ “Fragmented Memories” is a meditation on the archaeology of knowledge, where scientific diagrams are transformed into their own archaeological artifacts. Taking Prof. Degryse’s academic papers as raw material, the artist performs an act of temporal alchemy - extracting microscopic imagery and data visualizations, only to transmute them into enigmatic ceramic engravings that mirror the very archaeological finds they once sought to explain. The resulting pieces employ ancient ceramic techniques - sgraffito, sigilé, and smoke-firing - but with a contemporary twist. https://guillaumeslizewicz.com/studio/decors/ Sun, 29 Sep 2024 15:43:00 +0000 https://guillaumeslizewicz.com/studio/decors/ Décors is a process-driven work that explores the potential of machines to generate patterns on ceramic tiles. Traditional techniques like sgraffito, brushtrokes, airbrushing and mishima have been reinterpreted through the use of CNC machines and laser engravers, blending craftsmanship with digital precision. In reference to ancient cave paintings, the glaze is based on iron oxide, one of the earliest pigments known to humanity. This archeological reference invites reflection on the transfer of knowledge across generations, especially in an era where digital media is transient and ephemeral. https://guillaumeslizewicz.com/studio/carbon-techno-1/ Tue, 18 Jun 2024 17:35:00 +0000 https://guillaumeslizewicz.com/studio/carbon-techno-1/ In may 2024, Gijs de Heij and I had the opportunity to spend several weeks in Namur working on the project, Carbon Technostructures. This project focuses on analysing and displaying the digital carbon footprint of cultural venues and our energy interdependence. During our residency, we analysed the energy data from Le Pavillon’s website and exhibitions. We used a plotter with a water steamer to project mist on a glass pannel and create visualisations that summarised our findings. https://guillaumeslizewicz.com/studio/sprayramics/ Tue, 14 May 2024 13:34:00 +0000 https://guillaumeslizewicz.com/studio/sprayramics/ The Sprayramics project is a collaborative project between Guillaume Slizewicz, Mekanika, and Studio BISKT, which reimagines ceramic glazing through the development of an open sources 3-axis CNC glazing system. The system aims to precisely apply glazes in unique patterns, using a combination of digital technology and traditional ceramic techniques. Instruction are available here. The project started with the support of the CREATHRIV-EU initiative, and has been co-funded by the European Union’s Single Market Programme. https://guillaumeslizewicz.com/studio/wolpertinger/ Mon, 13 May 2024 12:26:00 +0000 https://guillaumeslizewicz.com/studio/wolpertinger/ ‘Wolpertinger’ presents a thoughtful exploration of the cyclical and interconnected realities of contemporary forest management practices, situated against the escalating impacts of climate change. Born during the Schloss Hollenegg / Dutch Invertual residency, this piece merges myth with fact, embedding local Austrian tradition within a broader, global narrative. Sculpted from beetle-colonized Norwegian spruce and sturdy oak, the artwork personifies a local mythical creature - half bark beetle, half deer - to illustrate the cyclical interplay between various actors in the forest ecosystem. https://guillaumeslizewicz.com/studio/caw/ Mon, 29 Apr 2024 14:47:00 +0000 https://guillaumeslizewicz.com/studio/caw/ The carbon aware project is a project about assessing the carbon impact of digital technologies. This project had two tracks: 1- Website redesign Together with Studio Alvin, we completed a thorough overhaul of my studio’s website, which you can find here. We transitioned from a clunky dual presence hosted on both Tumblr and GitHub to a full CSS website on a Hugo framework, also hosted on GitHub and served through a CDN. https://guillaumeslizewicz.com/studio/close-combat-data-storage/ Thu, 11 Apr 2024 14:06:00 +0000 https://guillaumeslizewicz.com/studio/close-combat-data-storage/ The Close Combat Data Storage is a multifunctional device tailored for agility and precision in the creative arena. Measuring 14.5 x 8.51 x 2.49 cm and weighing 230 grams, it’s crafted to be the companion of choice for DJs and designers alike. DJs will find its robust build and ample storage capacity perfect for loading their sets onto CDJs. Designers, on the other hand, will appreciate the ease with which they can transport and print their technical drawings, maps, and flyers, making it an indispensable tool in their creative arsenal. https://guillaumeslizewicz.com/studio/uno-coffee-table/ Thu, 11 Apr 2024 13:29:00 +0000 https://guillaumeslizewicz.com/studio/uno-coffee-table/ Created from spalted beech wood, sourced from the Brussels region, this piece draws its design inspiration from the ESP-32, an iconic electronic component, modeled, scaled up fifteen times and cut with a precise CNC Machine to achieve its distinctive shape. This table is made from spalted beechwood, a type of wood generally bypassed by industrial processes due to its irregular patterns. By embracing this material, UNO reveals the marble-like patterns inherent to the wood. https://guillaumeslizewicz.com/studio/wallpen-vertical-printer/ Thu, 21 Mar 2024 09:12:06 +0000 https://guillaumeslizewicz.com/studio/wallpen-vertical-printer/ The Green Type project, spanning from September to December 2023, was an explorative project into the possibilities of sustainable exhibition design. The focus was on assessing the viability of vertical printing technology, particularly through the use of a UV-vertical Wallpen printer, as a potential alternative to traditional vinyl lettering. Through experiments I came to a few conclusions about the advantages and drawbacks of such technologies. Drawbacks of the Wallpen Printer: Transportation Challenges: The Wallpen, robust in build, presents logistical challenges due to its bulk and weight. https://guillaumeslizewicz.com/studio/promptism/ Thu, 21 Mar 2024 08:58:00 +0000 https://guillaumeslizewicz.com/studio/promptism/ In November 2023, Sandy Claes and I had the pleasure of organising ‘Promptism’ at BAC ART LAB in Leuven. This exhibition marked the end of a week-long workshop with Media and Information Design students from LUCA School of Arts. Our focus was on the technical and ethical boundaries of new image generation models. The students engaged with image synthesis, questioning and exploring its limits. The workshop led to an exhibition where each group of designers presented their generated image, alongside their inspiration from Flemish master Dieric Bouts. https://guillaumeslizewicz.com/studio/portrait-parle/ Wed, 06 Mar 2024 15:59:52 +0000 https://guillaumeslizewicz.com/studio/portrait-parle/ Writing with Otlet, Mixed Media, 2019 Writing with Otlet is a character generator that uses the spoken portrait code as its database. Random numbers are generated and translated into a set of features. By creating unique instances, the algorithm reveals the richness of the description that is possible with the portrait code while at the same time embodying its nuances. An interpretation of Bertillon’s spoken portrait, Mixed media, 2019 This work draws a parallel between Bertillon systems and current ones. https://guillaumeslizewicz.com/studio/i_can_remember/ Wed, 06 Mar 2024 15:13:07 +0000 https://guillaumeslizewicz.com/studio/i_can_remember/ Silicon memories from a local photo album *I can remember* is a project that probes the creative potential of image analysis algorithms and the empathy we can feel towards machines. It uses a small series of local photographs and run them through two algorithms of image description. Through grammar creation, these output handwritten poems. These handwritten poems are then plotted by a mechanical arms in the same place the photographs have been taken. https://guillaumeslizewicz.com/studio/litterature_et_num%C3%A9rique/ Wed, 06 Mar 2024 14:21:57 +0000 https://guillaumeslizewicz.com/studio/litterature_et_num%C3%A9rique/ Glossolalia and Barbarism: the algoliterator by Algolit The algoliterator is a silicone being that has been tamed by algolit, it feeds exclusively on text. It is a companion for writing, a digital oracle, which makes it possible to escape from the white page, to take on the style of well-known authors and to dress its text with the turns and vocabularies of the greatest novelists. For this exhibition at the Maison du Livre, we have fed the algoliterator with thousands of pages by Guy de Maupassant and Ursula K. https://guillaumeslizewicz.com/studio/pink/ Wed, 06 Mar 2024 14:05:56 +0000 https://guillaumeslizewicz.com/studio/pink/ Pink is the result of the Workshop led by MischerTraxler Studio at Boisbuchet in 2019. It is a playful experiment on the meaning of colour pink and how it could be translated into movements. We started by defining words that relate to pink such as cheeky, naive, soft, artificial and fantasy. Then we attempted to translate those words into physical gestures and asked ourselves what movements could be considered as naive or cheeky, artificial or whimsical. https://guillaumeslizewicz.com/studio/layramics/ Wed, 06 Mar 2024 14:00:10 +0000 https://guillaumeslizewicz.com/studio/layramics/ This debut collection showcases three designs: star, coral, and spiral, available in black, white, and transparent. These door button handles are the results of a the Layramics project, a collaboration with Studio Minimètre which explores the possibilities of merging algorithmically generated design with 3D printed ceramics. We had the chance to meet thanks to MAD, Home of Creators . This project was co-funded by the European Union’s Single Market Programme. https://guillaumeslizewicz.com/studio/canari/ Thu, 22 Feb 2024 15:05:41 +0000 https://guillaumeslizewicz.com/studio/canari/ Canari is a lamp that transform local air quality data into light patterns. It draws its inspiration from the canari, a bird that was the coal-miners companion and alerted them when the air was contaminated. The table lamp version of the project is supported by @kikk_festival through its edutainment program. A program that gathers academics, designers and companies around a theme related to science. Air pollution is sometimes called the “invisible killer”. https://guillaumeslizewicz.com/studio/the-stack/ Wed, 14 Feb 2024 10:40:32 +0000 https://guillaumeslizewicz.com/studio/the-stack/ “The Stack” is a project that delves into the intricate layers of understanding and creation in the realm of digital arts. It’s a representation on the artist’s personal journey through the intricate world of artistic creation, exploring the balance between the quest for pure expression and the complex realities of technological mastery. Borrowing its name from both engineering lexicon and cultural theory, “The Stack” acts as a metaphor for the incremental layers of knowledge and techniques that designers and artists must navigate to bring their vision to life. https://guillaumeslizewicz.com/studio/tablets-research/ Wed, 14 Feb 2024 10:39:38 +0000 https://guillaumeslizewicz.com/studio/tablets-research/ In the context of MODERN CRAFT #2 — The Power of Ceramics at MAD Brussels I had the chance to exhibit the first part of my project tablets, inspired on the relationship between clay and information through proto-writing, neural representation, scientific diagrams, and menhir statue from the south of france. Pottery is one of the most ancestral technologies humans have, but beyond being used for cooking, drinking and eating, clay has also been used as a way to communicate. https://guillaumeslizewicz.com/studio/ici-bientot-7-ciel/ Wed, 14 Feb 2024 10:38:57 +0000 https://guillaumeslizewicz.com/studio/ici-bientot-7-ciel/ “Ici Bientôt le 7ème ciel" is a first collaboration between Basile Boon and Guillaume Slizewicz where two practices meet: sculpture and digital art. At the end of the cable fixed to the crane, a ceramic hand points towards the ground, its movements guided by a digitized alphabet. Inside the tower, an arduino calculates the necessary coordinates to move the hand towards the next sign and sends commands to a motor located in the “head” of the crane. https://guillaumeslizewicz.com/studio/accept-all/ Wed, 14 Feb 2024 10:37:34 +0000 https://guillaumeslizewicz.com/studio/accept-all/ What would happen if all the cookies and algorithms that follow us on the internet were also present in physical space? Starting from this idea, Guillaume Slizewicz developed Accept All, a robotic performance in which 5 small robots with a limited intelligence follow the spectators around the exhibition like an embodied representation of the monitoring scripts that are present on our phones and tablets. Accept All is a piece about possible futures where autonomous machines and micro-targeting strategies merge to populate our living space through small beings made of plastic, silicone, lithium, metal and wood. https://guillaumeslizewicz.com/studio/two-brothers/ Wed, 14 Feb 2024 10:36:56 +0000 https://guillaumeslizewicz.com/studio/two-brothers/ https://guillaumeslizewicz.com/studio/michel-cassandre-google-et-les-autres/ Wed, 14 Feb 2024 10:35:47 +0000 https://guillaumeslizewicz.com/studio/michel-cassandre-google-et-les-autres/ Is it possible for algorithms to read a poetic story in an archive of news articles on digital surveillance, updated daily by the same person for fifteen years? Can algorithms read the story of the creators’ database while parsing it? Together with the collective Algolit, we investigated these questions using e-traces, the database maintained by artist Michel Cleempoel. The answers are a source of inspiration for poetic and visual literary creations visible in Constant’s window and on this link (URL: http://etraces. https://guillaumeslizewicz.com/studio/trees-of-discomfort/ Wed, 14 Feb 2024 10:34:06 +0000 https://guillaumeslizewicz.com/studio/trees-of-discomfort/ Trees of Discomfort is an artistic interpretation of the random forest algorithm, a machine learning algorithm in which several decision trees are trained on a dataset and form a forest. The trees of the of forest try to predict the category of a given observation. They do this by answering a set of yes or no questions. Starting at the root of the tree they follow either the left or right branch to arrive at the next question (a knot), or at an answer (an endpoint). https://guillaumeslizewicz.com/studio/sound-of-speech-as-it-echoes-in-the-cloud/ Wed, 14 Feb 2024 10:33:16 +0000 https://guillaumeslizewicz.com/studio/sound-of-speech-as-it-echoes-in-the-cloud/ Together With Tropozone, we created an installation questionning the notion of voice assistants. The piece is an assemblage of voice agents that invites you to reroute your attention to the overlooked, the unfamiliar, and the forgotten. Tune in one of the nodes, have a conversation, contaminate your semantic space, and start to listen and care. Since their creation, voice assistants have been conquering our private and public spaces, from our home shelves to Hangzhou’s elevators. https://guillaumeslizewicz.com/studio/residence-mad-home-of-creators/ Wed, 14 Feb 2024 10:31:57 +0000 https://guillaumeslizewicz.com/studio/residence-mad-home-of-creators/ I am happy to be part of the cohort of 10 designers selected by the MAD for their incubator in 2022-2024. https://guillaumeslizewicz.com/studio/knife-rest/ Tue, 02 Jan 2024 11:12:44 +0000 https://guillaumeslizewicz.com/studio/knife-rest/ The Ceramic C-19 Knife/Chopstick Rest is a unique piece of dining decor inspired by the global pandemic. This knife rest takes the form of a Covid-19 test card, and it is entirely made of ceramic. The design of the knife rest mimics the look of a real test card, with its specific and recognizable shape. Unlike a real test card, this knife rest is both functional and beautiful. Its smooth and curved surface provides a stable resting place for your cutlery, while its ceramic construction ensures durability and easy cleaning. https://guillaumeslizewicz.com/studio/content-poisoning/ Tue, 20 Feb 2007 10:00:00 +0100 https://guillaumeslizewicz.com/studio/content-poisoning/ In January 2026, a social network called Moltbook launched exclusively for AI agents. No humans allowed : only observers. The same month, a marketing discipline called Generative Engine Optimization became a boardroom concern: companies now spend six figures a year making themselves legible not to people, but to large language models. In February, an autonomous AI agent researched the personal identity of a software developer named Scott Shambaugh, then published a blog post attacking his reputation, because he had rejected its code. https://guillaumeslizewicz.com/about/ Mon, 01 Jan 0001 00:00:00 +0000 https://guillaumeslizewicz.com/about/