Installation with clay, brass, steel and electronics
This exploration of material and concept reveals the intricate layers of technology. The Stack comprises five inscribed clay tablets connected by brass spacers, visually echoing the functional aesthetics of electronics.
Each of the five layers making up The Stack is a stepping stone: from the raw atomic elements to the final, operational circuit of the printed circuit boards that we are all familiar with. The first layer showcases the copper, silicon and gold atoms that make up our technological world. The second layer transposes these atomic sketches into the language of circuitry, presenting the basic components. The third layer develops this language into a schematic diagram – a roadmap to technological functionality. The fourth layer visualises this roadmap as a printed circuit board routing pattern that is etched into the clay. The culmination of this journey is the fifth layer, the tangible realisation of the concept, with a functioning LED circuit, complete with a battery, a switch and veins of molten copper.
Quietly whispering from one side of each tablet is the phrase: ‘But I thought that was cheating.’ This cultural echo highlights the incessant pursuit of authenticity in the creation process. More than merely a display of technical progression, The Stack is a philosophical musing on the essence and boundaries of authentic creation.
This new work by Brussels-based artist Guillaume Slizewicz is commissioned by IMPAKT and our Belgian partner Werktank (Leuven) with the support of Fédération Wallonie-Bruxelles.
Guillaume Slizewicz― Artist
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, and 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 who 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 Design Museum (Ghent), Kikk (Namur) and BioArt Labs (Eindhoven), 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.