Guillaume Slizewicz is a designer and digital artist whose work sits at the intersection of technology, the environment, and societal issues. Through his practice, he engages with the evolving dynamics between innovation and sustainability, using technology in poetic, evocative and critical ways. His approach draws connections between ancient practices and contemporary digital tools.

Graduating in Politics, Philosophy, and Economics from the University of Kent and later in Production Technology at Copenhagen's School of Design and Technology, Guillaume founded his studio in 2021 to explore these relationships through digital arts and collectible design. His works often blend physical materials—metal, wood, and clay—with digital processes like algorithms, artificial intelligence, and computer-aided manufacturing. Guillaume's artistic inquiry extends beyond materials to his collaborative and experimental methodology. His works, often developed within collectives and with other designers, connect the past with the future, linking craftsmanship with computational processes. His work has been presented by institutions like MAD(Brussels), Impakt (Utrecht), Design Museum (Ghent), Le Pavillon (Namur), BioArt Labs (Eindhoven), Fake/Authentic (Milan) by universities in Brussels, Leuven, Basel, Trier and Hong Kong, as well as in grassroots venues deep in the local urban fabric such Biestebroekbis, La Maison du Livre St Gilles and Constant in Brussels.

Carbon Technostructures Residency

Carbon Technostructures Residency

2024 Namur Imagining Ecological Future Residency plotter, steamer, data

Partners: Gijs de Heij

Support: Kikk Festival, Goethe Institut Belgium, Centre Culturel de Namur Les Abattoirs

Carbon Technostructures visualises the digital carbon footprint of cultural venues through ephemeral cloud plotting.

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. Inspired by the intangibility of our digital infrastructure and the poetry of writing on misty windows, the plotter uses steam and an empty pen to form ephemeral patterns and texts.