Guillaume Slizewicz speaks in the language of technology but tells an emotional story. He translates complex social issues, from local air quality to online surveillance, into objects and installations that combine digital and physical (im)materials. Glass, algorithms, wood, social sciences, ceramics, circuit boards, literature, photography, code, a botanical garden, robots, computer voices, light – in Guillaume’s mind and hands they are all materials to be shaped into engaging experiences for all audiences, from the interested amateur to a demanding specialist. Right now Guillaume focuses on the notion of vernacular electronics, or how to give new technologies a local shape, form, and content.

After graduating in politics, philosophy, and economics in 2012, Guillaume worked as a strategist and consultant for different agencies and clients that were looking to innovate how they relate to their audiences. During these years he gravitated towards design thinking, product design and finally data visualisation and machine learning, leading him to complete a BA in Production Technology at Copenhagen School of Design and Technology (KEA) and an internship with interactive design studio Superbe in Namur. Landing in Brussels, he started to work as a design researcher for the Urban Species research group by LUCA School of Arts and ULB in Brussels. In parallel he set up his own studio in 2020 to create, produce and exhibit more artistic design projects that reflect on the plural relationships between technology, nature and society. Often working in collectives such as Algolit, Anaïs Berck or Tropozone, Guillaume Slizewicz’s work has been presented by institutions like Schloss Hollenegg (Austria), Impakt (Utrecht), Design Museum (Ghent), Le Pavillon/Kikk (Namur) and BioArt Labs (Eindhoven), Fake/Authentic (Milan), by universities in Brussels, Basel and Hong Kong, as well as in grassroots venues deep in the local urban fabric such as Biestebroekbis, La Maison du Livre St Gilles and Constant in Brussels.

C-19 Knife Rest

C-19 Knife Rest

2023 Milan LOST/FOUND, Fuorisalone, Milan Design Week Ceramic

Gallery : Fake Authentic

Production partners : Fouuur, Studio Minimètre

Support : Région Bruxelles Capitale

Photo credit : Helenio Barbetta, Guillaume Slizewicz,

A unique and eye-catching piece of dining decor inspired by the global pandemic, taking the form of a Covid-19 test card.

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.

The C-19 Knife Rest is not only a functional accessory but also a statement piece that adds a touch of whimsy and humor to any dining configuration. Whether used for a formal dinner party or a casual family meal, it is sure to spark a conversation and make a lasting impression on your guests.

On top of its functionnal and aesthetic qualities, the C-19 Knife Rest can be seen as a makeshift amulet to ward off COVID-related bad luck and protect a household from future pandemics.

The C-19 Knife Rest is made in Brussels and was developed in the framework of the Mad Incubator. It was presented in Fuori Salone in Milan in the exhibition LOST/FOUND curated by the Gallery fake authentic .

3D printed custom ceramic cutter by studio minimetre

Glazing and baking by foooouuuur