In the case of my design business, I use drawing as both a communication and creative tool. I often say that the most important moment in the creative process for me is when there is only a sheet of paper between me and the client, sometimes with pre-prepared content, more often blank. What is then created in a certain process of conversation conducted simultaneously verbally and on paper is a kind of spectacle, during which design ideas are created, then specified, developed from the technical, technological, and material point of view, and realised in the next stage.
 
In the world of 3D imaging involving the photorealistic presentation of ideas in a form of communication that can be described as 'coffee table', drawing leaves me with a margin for understatement, an open door that causes the creative process to continue, ideas to continue to mature because they are not described in such concrete terms that they can be considered closed. In the case of working with space (read: interior design), in my dealings with lay people, I have noticed that even a photorealistic 3D visualisation is not always able to illustrate in a way that is comprehensible to everyone all the spatial relationships that we create, while deriving them from scratch in the form of a drawing already does.
In design work, drawing for me is what you might call thinking out loud. We all know what the so-called 'thought chase' looks like ... Drawing is for me something that is its best material equivalent. A thought circulates, in a moment we abandon it and go in another direction, only to return to it a moment later come back to change a decision a moment later. Drawing allows a real-time account of the thought process. And even more. It influences the design process because, by allowing us to note down a thought quickly, it gives us an overview of it which, by creating a certain distance and a surrogate for the realisation of the idea, allows us to verify it immediately.
 

The theme of the planned exhibition is an important, topical subject, raising questions about our future, about the future of the world in which we live. I think that everyone has something to say about this. Particularly artists working in the fields of fine arts or performance art, based on the transmission of content and the depiction of emotions - they have the means to create such a message. I wondered what possibilities I had in this respect? How can I show this kind of emotion in, let's call it by its proper name - a product? The basis of the idea is the design of a lamp made based on a proprietary technology based on hand-dyeing and impregnating tracing paper in a way that changes its characteristics in such a way that it can be sewn and riveted. The object has a defined form. A seemingly closed case. I was helped by the process of realising the object itself - a slight deviation from the method of creating the components, a change in the process, a modification of the tool, which at a certain point became just the hand, the addition of an element of randomness to the effect achieved meant that the object began (or so I hope) to express something. The hand-scraped edge, in contrast to the evenly cut one, gives an impression of uncertainty, of an imbalance of some kind, it can cause anxiety. The colour scheme, usually lively and optimistic in the initial objects, here changed to a gloomier and depressing one, was intended to show what perception of the situation we are in. My intention was to avoid actions that depict something literal - after all, it would not be a problem to, for example, set fire to such a lamp, break it, or otherwise destroy it, and everything would be clear. My intention, however, was that while trying to depict something, it should remain a fully-fledged product.

foto: Marek Błażucki