About
Cyryl Zakrzewski, also known as Cyrylz, is a contemporary sculptor and designer whose work explores the relationship between nature and technology through sculptural furniture and functional objects. Rooted in organic geometry and natural phenomena such as erosion, growth and flow, his practice blurs the boundaries between art, design and craft.
Growing up at the intersection of the city of Poznań and the Morasko Meteorite Nature Reserve, Zakrzewski developed an early sensitivity to the natural forms and processes in contrast to the growing urbanization. This influence remains central to his work, which translates the logic of nature into fluid, tactile forms using a combination of digital modeling and hand-sculpted craftsmanship. He works primarily in birch plywood, carving layered structures that reveal the material’s internal rhythm and organic character.
Zakrzewski’s work has been exhibited internationally in Poland, Italy, Switzerland, France, the United Kingdom, the United States, Japan and Hong Kong. He is represented by Galleria Rossana Orlandi in Milan and Craftica Gallery in Warsaw. In 2026 he has been listed in AD 100.
Through his works, Zakrzewski seeks to create a meaningful connection between people and nature. Whether experienced as furniture or sculpture, his works invite reflection and a unique encounter with the natural forces that inspire them — expressing his ongoing desire to translate the beauty of the natural world into contemporary form.
Philosophy
My work is driven by a pursuit of harmony between nature and technology — two forces often seen as opposites, yet deeply interconnected. I explore this relationship through sculptural furniture and functional objects that blur the boundary between art and utility. Each piece begins with an observation of natural geometry: the way forms erode, grow, branch, or fold. These organic movements guide my process long before a material is touched.
At the same time, my practice embraces the precision and potential of contemporary digital tools. Technology becomes a collaborator — an extension of imagination that allows natural principles to be reinterpreted, reshaped, and transformed into new physical realities. The result is a fusion of the intuition and the designed function, the hand-shaped and the digitally programmed.
Working primarily with birch plywood, I sculpt each form by hand to reveal the inner layers embedded within the material. The surfaces I create are perfectly smooth, seems fluid and almost alive, inviting the viewer to touch and experience a moment of direct connection with a work. of art.
My goal is not merely to design objects, but to create encounters — pieces that by their shape are able to give inspiration, provoke curiosity or offer a sense of calmness. Through my work, I aim to show that nature and technology are not adversaries, but partners capable of producing forms that are both innovative and deeply human – this is the future i want to embrace.
Material – Birch plywood
Birch plywood is at the core of my practice, from my first encounter with it more then 14 years ago to this day, I feel attracted to this material and still find it very inspiring. Firstly I choosed this material for its strength, versatility, repeatability and ease of use with modern CNC machines and all this with not sacrificing natural honesty and warmth of wood. Composed of multiple thin layers bonded together, it beatifuly reflects the way nature builds complexity through repetition and structure — layer upon layer forming a unified whole.
This stratified composition allows me to sculpt deeply into the material, revealing its inner geometry and rhythm. As each layer is exposed, the plywood tells its own story, transforming from an industrial sheet into an organic, flowing form. The visible edges become part of the design, emphasizing growth, movement, and depth.
Historically, birch plywood has been a transformative material in modern design. In the early 20th century, it became a catalyst for new approaches to form and function, embraced by figures such as Alvar Aalto, Charles and Ray Eames or Eero Saarinen, whose experiments with molded plywood gave rise to organic modernism and a more human-centered design language.
Beyond design, plywood has also played an important role in contemporary sculpture. Artists such as Tony Cragg have explored laminated and industrial materials to investigate ideas of growth, accumulation, and transformation—demonstrating how engineered matter can be shaped into expressive, organic forms. This lineage reinforced my interest in using plywood not only as a construction material, but as a sculptural medium in its own right.
What continues to fascinate me is plywood’s dual nature. It carries the precision of engineered production while retaining the warmth and unpredictability of natural wood. This makes it ideally suited to my process, which combines digital modeling with hand sculpting. As layers are carved and exposed, the material’s internal structure becomes visible, turning construction into expression.
Birch plywood also offers a strong tactile quality. When perfectly finished its smooth surfaces invite touch, encouraging a direct, physical relationship between object and user. At the same time, its durability and responsible sourcing support a sustainable approach to production.
By working with birch plywood I place my practice in dialogue with design history and contemporary art — using a material shaped by modern industry to explore the evolving relationship between nature, technology and craft.