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.

decors

decors

2024 MAD Brussels Future Generation Ceramic, Iron Oxyde, aluminium profiles

Thanks to : Emilie Pillet, Mekanika, Frizbee ceramic.

Photos credit : Dana Savic, Guillaume Slizewicz.

Décors is a process-based piece that displays nine different ways to create patterns on ceramic tiles using laser and CNC machines.

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 increasingly transient and ephemeral.The patterns showcased in Décors range from the creative misuse of scientific coding libraries to artificially generated interpretations of common myths, highlighting the tension between tradition and technological innovation.