Marc.eli-Klimek

06/09/2025

Hi I will be exhibiting my MDJ Papier project in Szczecin, Poland, for the 10th annual Textile Festival (Festiwal Tkaniny) as part of the kruchość materii paper exhibition.
Thank you to the organisers and everyone participating :)
Please check out all the exhibitors' work nicely displayed on the page for this festival with their profiles and pieces.
The event is taking place at the Galeria Suplement Biblioteki Giównej Zachodniopomorskiego Uniwersytetu Technologicznego ul. Ku Słońcu 140, Szczecin

Festival profile: https://www.facebook.com/share/1Lz69ipb1r/

Event link: https://facebook.com/events/s/kruchosc-materii-i-wystawa-pap/1268983314699080/

(Some images used in the first slide, and the third slide belong to and are from the festival organisers all credit to them.)

24/08/2025

19/08/2025

⚡I'm using each track as a guide to reveal patterns and techniques for embroidery. Inspired by their electronic and rhythmic sound, this project imagines itself as part of a live performance, resonating with the music and examining the relationship between fashion and sound.
A common theme between MDJ and my work is the use of communication in/as art.

19/08/2025

I don't particularly care about texture all that much, I understand it's a major part of embroidery but it feels like less of a consideration when you see everything digitally. Anyways I like to keep things very structured and dense, it just feels right. Sometimes gaps exposing the base fabric if the base is important (not always). These are just experiments in seeing how pink and green interact with each other in small and large areas.
And yeah working a bit with my recent tattoos, because I like to focus on recent things in designs, grounding things in the moment kinda.

19/08/2025

One of the central themes is blood spatters. Not in any kind of major way, mostly through implication. Violence somewhat removed from the original context of violence. Think about video game violence, blood. It has a different effect on people, you know it's not real. Mentally it doesn't affect me the same way as real blood. So what if we treat this image as not real. Disconnect ourselves from it. Cause I won't tell you if that's real blood and you'll never know, it's up in the air. It's not that serious..... And what if we apply this thinking to anything the blood is on, whatever it stains suddenly takes on that meaning too. Somewhat unavoidable since the consensus is that blood always stays with you, the unwashable blood in Macbeth. Representative of guilt. It's something we created. But this isn't guilt exactly. It's just the meaning. Blood as art is in video games and media. Red mist. And we could say we don't take it seriously, so if I stain the religious imagery that I've reproduced with this unseriousness then what's the result? I think it's a fun exercise in playing with established meanings and playing with your audience. Lying and misleading them like I'm slightly doing through this account now. Have we properly explored the possibilities of dishonesty in art and design.

19/08/2025

I've been having fun disconnecting objects from their context for this specific project I'm working on. These ones from the National Museum in Krakow include mostly religious iconography and/or items commissioned by and for the Catholic church. Outlining and redrawing objects like this works for me because A. I really like outlining as a practice because it has interesting connotations of understanding a thing and B. With any kind of 'drawing from a source' to then create embroidery designs you end up taking something away from the original object you're working from and then sometimes adding something later. I don't know if I'm happy with this kind of way of creating art. So much of current art feels like a reference to something from the past but what about just creating something from nothing or something purely from your head. But your imagination is just a collection of all you have seen processed through you. So what is truly something new? And not in the novel gimmick sense but purely new. This is silly though because from what I've read the consensus is that reality and culture is built on top of the past. Everything connects back in some sort of timeline as a reaction to another thing. You can't escape your past kind of deal. There's still a lot of nuance to that though. This is just the first layer of exploring this. The final product will be unrecognisable from these drawings. I like to obscure drawings to the point they become unrecognisable but I can't put down exactly why I do this.

20/07/2025

Pictures from Szczecin,
A lot of interesting exhibitions, I really enjoyed specifically the castle (dungeon) because of the variety of media. The way some paintings were hung was uhhh kinda weird with how the lighting was set up which kind of maybe is from how the space just is but unsure. Just very fascinating cause I wasn't used to the layout. So many questions. Some paintings had a lot of black and the lighting really exposed the brush strokes which seemed unusual because I couldn't really concentrate on any kind of effect the whole painting was going for. A lot of thoughts came out of discussions with
I usually attend these by myself so I overlook a lot of details.
Otherwise, look how many horses! Here and there. Trafostacja always has the best of everything imo. I'm never disappointed and this exhibition was just so full of so much. Like at every turn there was always something quite inspiring and surprising exhibit wise. Red lighting goes hard too.

Quantum Babylon was super fun in the interaction between textile and digital art. Especially in how it completed a space. Super super textured and feelingly.

Slides 2-3 A walk on the dark street, at the Pomeranian Duke's Castle in Szczecin
Slides 4-6 Un******ng from sleep. At Trafostacja Szczecin. Slide 4 artist not tagged: Stanisław Garbarczuk
Slide 5 & 6 artist not tagged: Władysław Hasior
Slide 7-8 Museum of Regional Traditions Szczecin
Slide 9-11 Quantum Babylon at the Museum of Contemporary Art Szczecin
Slide 14-15 Szczecin underground tunnels
Slide 15: unsure about the artist, part of the contemporary painting/art section of the Underground tunnels

27/05/2025

Super cool to have given a presentation on contemporary embroidery featuring the work of recent rsn graduates, embroidery in everyday life and commercial examples in high fashion and everyday wear. Also explaining the thought process behind what I'm inspired by and how I design.
Thank you to and everyone involved in the SzczecinBerlin Partnership .e.v for giving me the opportunity to talk about my work and explore Berlin. So many amazing places as you can see in the photos in the later slides. Yay !!!!

27/05/2025

Exhibition in Berlin ✅
Super grateful to everyone that came and made it happen.
Curator .bo.ska
Gallery .endart
Featuring my graduate work and work I've done since.
Extremely interesting the amount of people interested in embroidery and the way I practice it. Hope to be back soon.
Had a lot of fascinating and genuinely inspiring conversations, I'm not just saying that because that's what people say in these posts, I do mean that. I really enjoy mainland European perspectives on embroidery because they can be quite different from the UK. I hope to study and write about interesting differences in the future.

27/05/2025

New blog post (images unrelated) on the main motif that I used throughout Cuh Opilamonnia Rs and its remix. Maybe cooked with this entry ....... 🗣️🗣️🔥✨ Link in bio
Also quick technical sketches based on some drawings from remix. Taking things into a slightly different direction.
Also a sneak peek on a new project on the last slide.
💜

27/05/2025

Refer to my recent blog post. Every colour that borders an area represents something personal and emotional, a person or emotion. Every inner blend of green, blue, yellow represents the cultural developments and structures and organisations and realities, also very human (in the sense that they wouldn't exist without us, they're not clouds). I think that's the main fascination I have, just human constructs. There's so much agency and meaning and desire. It doesn't feel like anything to do with nature or natural forms has anything to do with what anyone wants. When you're depicting something with embroidery and making art, there is always the semblance or underlying feeling that you're glorifying it/showcasing it and it irks me to spend anytime on something that just came from nowhere and everywhere, evolution, chance, natural processes. So I'm drawn to abstract shapes and mechanics and representing concepts, quite aggressively avoiding floral forms and I'm not sure how successful I am in that. It's just how I felt whilst making this project, a sort of disdain towards the indifference I've always perceived in nature. My initial reaction to the thought of nature as a (on the surface level) cruel but truly indifferent force is fear. But if it's not going to care about me and what I do, then I'll care about what I do. I care about a lot of things and a lot of people. If we're just animals as much as other creatures and a part of earth, then why do we care? I could very well be missing something and getting a lot of things wrong but I'll figure more and more out. My next project will delve into those themes that I struggle to figure out and I'll hopefully come to a different conclusion. I think that a drive and desire to change and believe in things with full confidence even if just for a day like today with what I wrote here will lead me to uncovering more. Very long (and public) rant and train of thought but something I'll look back and comment on with more experience.