The evolution of materiality: from stillness to vitality

How do you choose and combine materials for your work?

In a world increasingly dominated by digital and intangible experiences, I am drawn to materials that evoke touch and emotional resonance. I focus on materials that age with beauty. Materials like wood and ceramics intrigue me because they transform physically during processes like firing or melting, revealing fluid, organic beauty. For example, my ceramic tables use glazes that solidify into dynamic, smoke-like patterns after being subjected to heat. This interplay between the material's transformation and its final state deeply inspires me. 
For the artworks chosen for roadmap, I mostly worked with the wooden-textile material I have developed myself, after years of experimenting and studying the material.

What inspired you to make wood – a traditionally static material – so flexible?

I've always been fascinated by wood's versatility and its ability to age beautifully while storing memories. My mother still complains about a big scratch in her kitchen table. It happened while I was preparing her friend's wedding cake, and it has now become a pleasant memory. The texture, smell and natural imperfections of wood evoke a strong connection to nature. Observing how wood reacts to elements like water inspired me to explore nature's potential for movement and transformation. Our way of dealing with nature is control. Chaos and wilderness are kept outside, behind fences or trimmed hedges. Inside our homes nature is tamed. Can chaos and disorder reconnect us with the outside world?

Why do you challenge traditional perceptions of wood with your wooden textiles?

Wood is a naturally grown material that was once alive. My goal is to restore a sense of movement to the material, to turn it into something vivid and less static. Having a background in textile design fuelled my curiosity to explore materials beyond the soft and fluid. I wanted to give wood, a material often perceived as static, a sense of movement and adaptability. Through experimentation, I developed wooden textiles, a hybrid material that is flexible and transformative. This surprises people, because we are accustomed to experiencing wood as hard and rigid. But we usually don't experience a wooden surface that can be changed by touch.

Do your mosaic-style pieces start with a big-picture concept or evolve from individual elements?

It varies. Some artworks with patterns are created spontaneously, much like a painting. Others are meticulously planned using digital designs before assembling the wooden triangles. For gradient pieces, we carefully calculate and dye the wood to achieve a smooth flow of colour. The process – whether intuitive or precise – is integral to the outcome.

How has your artistic journey evolved and where do you see it heading?

My story started with the development of the wooden textile, a material experiment which turned out to be an innovation. I was exhibiting the wooden textile in Milan at the furniture fair and received a lot of interest. From the material itself I started to develop my own collection of interior objects, and I worked on interior projects for hotels or private residences. In recent years, I have focused on creating more sculptural pieces with 
metallic finishes. In 2023, I started to collaborate with photographers to mix my material with visual images.

How do you describe yourself and your work?

I see myself as a designer with an artistic approach and I like to move between both worlds.I'm very happy to see my creations in use. I would feel limited defining my work as art and placing it on a pedestal with a "please don't touch" sign. I prefer when people interact with my creations.

author: Elisa Strozyk (artistic designer)