New Post. Marek Cecula: Visiting professor at Royal Collage of Art, London
Art Director: Design Centrum Kielce, Poland, 2010-2012
Curator of The Third Biennale for Israeli Ceramics, 2004
Guest curator, Gardiner Museum, Toronto: “Object Factory I”, 2008
Guest curator, Museum of Arts & Design New York: “Object Factory II”, 2009
CURATOR of III International Festival of Design in Lodz Poland, Contemporary Ceramic Section. 2009 and 2010
Art Director: Cmielow Design Studio 2013

MAREK CECULA, artist, designer, educator. Founder and owner of Modus Design established in 1995 in New York City.
Today Modus Design is based in Poland where in cooperation with Cmielow Porcelain is launching a creative design studio in the heart of porcelain industry.
“ Cmielow Design Studio” is dedicated to the development of contemporary porcelain product and adaptation of new technologies for innovative usage in industrial production.
The studio will offer alternative viewpoint on domestic products,
reinventing the landscape of the table through new tableware concepts.
Cmielow Design Studio with new facilities will run residency programs, educational workshops and the annual international symposiums for ceramic design.
The aim of Cmielow Design Studio is to express and infuse contemporary spirit into the noble material and to continue the exquisite craftsmanship in porcelain art and design.


"SEEDS" Speculative vision for survival.
Gallery: BWA Wroclaw Poland September 2012

Photo   The SEEDS exhibition shows 20 big and 20 small ceramic containers – “seeds”. The SEEDS are capsules consisting of two parts making a hermetic unit when closed. Each one of them contains a full kit necessary for us to survive: from the most basic substances, through tools, up to the knowledge needed in critical conditions. Like a seed contains the complete genetic information, SEEDS are the vehicles of information about our civilisation and culture – they enable to restore the civilisation and culture in new forms after a hypothetical catastrophe.

The form of SEEDS is taken from Nature. Their shape correspond with real seeds, with eggs, with diamonds, the most durable forms in Nature. The project used the strategy and economy of plants, where reproduction depends on the number of spores, and the huge amount of seeds is spread all over vast territories. That is why the SEEDS projects assumes to produce approximately 100 individual “seeds”, which will be filled with substances and knowledge and buried in the chosen sites all over the world, to make sure they will survive and will be found. SEEDS – the capsules of new civilisation – do not contain technological innovations, they are rather coming back to the sources, to the most basic substances and the knowledge which has been forgotten today and which make our survival possible. Neither we, nor our civilisation can exist without it.



SEEDS 2012

“SEEDS” Art of Survival is a project combining art, design and social anthropology.
By employing elements of archeology and futurology, project-joining the continuation of previous works titled “Archeology of the Future”
Project is a reaction on the condition facing the modern world in which control over the development and man’s destiny is highly uncertain.
The installation creates a vision of hypothetical catastrophe, and asks a question: what would happen if a cataclysm wiped our civilisation out?
What would be necessary for a man to keep life on Earth and begin the new culture?

The awareness of our existence being threatened is nowadays more and more real and niggling, new ideas have been born to preserve at least pieces of our civilisation and some of the most important achievements of the mankind.
To materialize the time capsule idea in the SEEDS project specially made ceramic forms (containers) have been used; in which function, information and aesthetics are of the same importance and the roles they play are in balance.

The content of the capsules have been chosen after the analysis of real needs of a human. That is why the SEEDS – capsules of new civilisation – do not contain technological innovations, they rather come back to the sources, to the most basic substances and the knowledge which has been forgotten today and which makes our survival possible. Neither we, nor our civilisation can exist without it.

The project encourages to look critically at the abundance of things, objects, products and information surrounding us. It emphasizes the importance and significance of those ones having timeless value and could serve as source for new life.

The SEEDS exhibition is a special archaeology of the future. It asks a question about the condition of our planet and makes us aware of losing the control over the men’s progress and his destiny.

Marek Cecula 2012




Photo   The SEEDS project used ceramic material as a substance which can store and keep safely the most valuable pieces of information. Ceramics has been with us since the dawn of mankind, and its history dates back to 13000 years B.C. This is a kilned material of extreme durability, and a vehicle for information about past civilisation


"Kielce Chronicle" "Kronika Kielecka"
Centre for Polish Sculpture in Oronsko, Poland,
Curator Leszek Golec
July 02 - August 15 2011

"Kielce Chronicle" "Kronika Kielecka"
Art Museums of Bergen, Norway,
Curator Heidi Bjorgan
September 17 - January 01 2011

Kielce Chronicle
Kroika Kielecka

How to communicate the truth of a man’s life? How to show the city I’ve come back to after so many years?
In Kielce Chronicle, on shards of porcelain plates I illustrate a fragmented history of my life: people, family and the place where I live and create.
And it is a particular place where history is still alive, where dust of oblivion has not covered the traces of past and tragic events yet, on the contrary, they have been remembered and they still have been painful.
The documentation of both personal and collective memory, saturated with images of dramatic acts and happy moments of life, has become the material and the process of my work at the same time. Fragments of images both from the past and present days have created one eclectic matter, fused in to pieces of domestic porcelain.


Photo   The multitude of porcelain fractions, covered with ceramic decals with fragments of pictures, piled loosely in the table hollow, creates a porcelain sea of history and the present day, which – by intermingling with each other – evoke unexpected associations and emotional representations.

The shards fill the open hollow in the wooden table. Two benches, where one can sit to contemplate the work, stand next to the table.
Kielce Chronicle is an interactive installation. The viewers are welcome to reach to the inside of the table and take out the porcelain bits, to watch and study the illustrations placed on them.
Finding meaningful fragments, watching memory-provoking images, discovering details that remind our own lives, enliven imagination and evoke emotions.
The audience becomes creators – they take out and put the porcelain pieces back into the table hollow, what sustains the work’s constant movement, they continuously remix history in a visual collage of enigmatic mass.

The substance of encrypted archeology creates matters suspended in time, without any order or chronology; it engages the viewer in seeing my life and my city through associations and imagination, recorded in monochrome on the pieces of the Kielce Chronicle.


Photo   Interactive


Jak przekazac prawde o zyciu czlowieka? Jak pokazac miasto, do ktorego wrocilem po wielu latach? W Kronice Kieleckiej na ulamkach porcelanowych talerzy ilustruje fragmentaryczna historie swojego zycia: ludzi, rodziny i miejsca, w którym zyje i tworze.
A miejsce to szczegolne – gdzie historia ciagle zyje, gdzie slady przeszlosci i tragicznych wydarzen jeszcze nie pokryl kurz zapomnienia, jeszcze sa pamietane i ciagle bola.
Dokumentacja osobistej i kolektywnej pamieci, nasycona obrazami dramatycznych wydarzen oraz szczesliwych momentow zycia, stala sie zarowno surowcem jak i procesem mojej pracy. Ulamki obrazow przeszlosci i wspolczesnosci stworzyly jedna eklektyczna materie, zatopiona we fragmentach naczyn domowej porcelany.


Kielce Chronicle
Kielce Chronicle   Kronika Kielecka,
Kielce Chronicle

Mnogosc porcelanowych odlamkow pokrytych kalka ceramiczna z fragmentami zdjec, usypana luzem w zaglebieniu stolu, tworzy porcelanowe morze historii i aktualnosci, ktore przenikajac sie, budzi niespodziewane skojarzenia oraz emocjonalne reprezentacje.
Odlamki porcelany wypelniaja otwarte wnetrze drewnianego stolu. Obok stoja dwie lawy, na ktorych mozna usiasc, by kontemplowac tresc pracy.
Kronika Kielecka to instalacja interaktywna. Widzowie moga siegac do wnetrza stolu, wyjmowac porcelanowe ulamki, ogladac zamieszczone na nich ilustracje.
Odnajdywanie znaczacych fragmentow, ogladanie obrazow pobudzajacych pamiec, odkrywanie detali przypominajacych wlasne zycie, pobudzaja wyobraznie i poruszaja emocje.
Ogladajacy staja sie rowniez tworcami – wyjmuja i odkladaja odlamki do wneki stolu, utrzymujac w ten sposob prace w stalym ruchu, tworza ciągle nowe obrazy historii w wizualnym kolazu enigmatycznej masy.

Substancja zakodowanej archeologii tworzy materie zawieszona w czasie, bez ladu i chronologii, wlacza widza w poznawanie mojego zycia i jego miasta poprzez kojarzenie i domyslnosc zaspisana monohromem w odlamkach kroniki kieleckiej.


CURATOR of III International Festival of Design in Lodz Poland,
Contemporary Ceramic Section. 2009 and 2010
Photo   The contemporary ceramics exhibition titled non-object-ive during Lodz Design 2009 will cover a wide spectrum of the newest ceramic output selected from the international survey showing progression of the ceramic medium in the milieu of the phenomenal design expansion.
The exhibit will concentrate on ceramics, which represent the interface between art and design and new interpretations of industrial aesthetics, ready-made product, and the work, which combine new material and advanced methods of production.

Marek Cecula, curator
Daga Kopala, assistant curator



Photo   Public artwork commissioned by the city of Kielce, Poland to commemorate the liquidation of the Kielce's ghetto and the murder of 20.000 deported Jews.
Menorah is a site-specific work constructed from stainless steel and it represents an iconic symbol of Jewish faith, raising / sinking from authentic cobblestone collected from a street of the old ghetto. There was a center of Kielce's ghetto in the spot on which Menorah was placed, now it is a busy city street.

Related information:
Site: 22m x 6.m
Menorah: L, 3,80m. H, 1,53m to 0.5m W, 30x30cm
Location: 9 Wiekow St. by Silnica River. Kielce Poland

Marek Cecula 2007

Kielce, August 26, 2007

Photo   Along the sidewalk of Storgata Street in Porsgrunn, I created 6 stainless steel stations with decorated porcelain cylinders. Those cylinders rotate, if turned by hand, showing various sections of the images, and form random compositions. This public artwork is not a typical monument or sculpture but rather interactive street element (a stand) integrated with existing street fixtures and trees. It is an urban design of social dimension forming direct link between people, art and the environment, a record of History, Culture and Tradition.

Marek Cecula

Commission: Urban Art Project for city of Porsgrunn,
Norway. May, 2007