formally trained in photography, as well as design, my artistic practice meets at the intersection of these two mediums


i am drawn to photography’s alchemical power. the metaphorical and technical potential of the camera obscura has fascinated me for many years. beams of light travel through the eye focusing onto the retina in an identical manner to the way in which a camera lens focuses light onto the film, producing an image.

i have traveled back and forth in between countries in europe and the united states over the last fifteen years. each place has left a kaleidoscopic impression, partially overwritten every time. my own memories of each place, image, and travel have transformed into visual passages of time and space. this accumulated experience required a specific medium.

in 2010, i began exposing images directly on chromogenic paper, drawn to both the immediacy and purity of this process. this approach allows me to achieve a meditative depiction of light. symbolically, color negatives represent the latent image of an abstracted memory of the place, an imprint of a time and space. the way in which photographic paper perceives the ambient light is unique and complex. direct interaction of light and photosensitive material provides an exciting spectrum of photographic possibilities. the images are reversed color negatives: what orange is blue and what magenta is green.


my purpose is to create historically informed, formally inventive, well constructed experimental artworks that embody an intrinsic utilitarian function”. haute design objects include leaning piano (2015). the work represents integrative practice as a whole, and is a hybrid of modernist functionalism and linearism and the largesse of piano playing, the heightened centrifugal force of the curved leaning shape is a gravity defying entity; symbolic of the otherworldly nature of musical talent. this and other related works are an engaged response to the art historical hierarchies of genre, creative authority, and canons of modernity. such as reader’s chair, inspired by the chair made by the architect felix augenfeld for sigmund freud to accommodate the doctor’s unorthodox lounging reading position. in these works, the syntax of contemporary art is present and they can be understood as a conceptual work, furniture and as a sculpture.


born in nowy sacz, poland, maciej markowicz spent much of his childhood in his grandfather’s art studio and his father’s metal shop. it was this formative experience that would lead to the artist’s need to explore tactility in photographic processes and sparked his interest in handiwork. markowicz holds his ba, photography, the london college of communications, london, england, and has also studied interior design at the school of visual arts, new york.

markowicz has been the subject of a number of solo exhibitions and he has also participated in various group shows. the artist’s photography and custom designs can be found in private collections in the united states, the united kingdom, germany and poland.