Chopin Residue Umsebenzi Oyintloko: Iqweqwe Le-albhamu Yomculo ngu-Mariusz Szypura

Uyilo olubizwa ngokuba yi-Chopin Residue Umsebenzi Oyintloko: Iqweqwe Le-albhamu Yomculo olwenziwe ngu-Mariusz Szypura ngumwini obekekileyo webhaso elinobukhazikhazi le-2026 Ibhaso Lebhronzi le-A' Design Award Kudidi Lokhuphiswano lwe-Uyilo lwePakheji.

IbhronziIpakheji· 2026

Chopin Residue Umsebenzi Oyintloko: Iqweqwe Le-albhamu Yomculo

ngu Mariusz Szypura

Umxhasi: Black Element Label

Umwini we-Ibhaso Lebhronzi le-A' Design Award Kudidi Lwe-Ipakheji

7,551

Umwini Webhaso Oqinisekisiweyo

Qinisekisa Isimo Sebhaso se-#179587

Tyelela iSayithi Jonga kwi-A' Design Award Uxwebhu Lweendaba Ibheji Yembasa

Imibala

Uyilo

Malunga ne-Chopin Residue Umsebenzi Oyintloko: Iqweqwe Le-albhamu Yomculo

Umsebenzi wobugcisa oboniswa kwizalathisi ze-albhamu ubhala uthotho lweziqwenga ezikhulu ezenziwe ngamabhetye-bhetye entambo aveliswa ngexesha lenkqubo ye-lathe cut vinyl, into echaseneyo ngokomzimba kwemisele. Uyilo luphatha ipakeji njengolwandiso lomculo, ludibanisa isandi, izixhobo, kunye nenkqubo kwinto enye ephathekayo. I-albhamu iguqulela ngokutsha imisebenzi kaFryderyk Chopin nabaculi abanxulumene noPortishead, uSonic Youth, uBattles, uBeck, uDavid Bowie, kunye noTortoise.

Ukuqatshelwa

Malunga ne-Ibhaso Lebhronzi le-A' Design Award

Chopin Residue Umsebenzi Oyintloko: Iqweqwe Le-albhamu Yomculo ngumphumeleli weIbhaso Lebhronzi le-A' Design Award, ukuqatshelwa okuhlonitshwayo kakhulu okunikwa imiyilo ephawulekayo eyahlukaniswa kukuyila, ubukrelekrele nobukrelekrele. Abaphumeleleyo beBhronzi ziimveliso ezinobuchule obukhulu nezidala ngokumangalisayo ezingqina amava aphangaleleyo, ukucinga nokwazi ukuzenzela kwabayili bazo. Chopin Residue Umsebenzi Oyintloko: Iqweqwe Le-albhamu Yomculo iyathenjwa ukuba ibe yimpahla exatyiswa kakhulu, edunyiswayo nethandwayo enobungcali obuphawulekayo nezinto ezintsha. Lo myilo uphumeleleyo weIbhaso Lebhronzi le-A' Design Award ubandakanya iindlela ezilungileyo kakhulu kubugcisa, inzululwazi, uyilo kunye nobuchwephesha kwaye ugqwesile ngenxa yokunikela ingqalelo kwiinkcukacha. Chopin Residue Umsebenzi Oyintloko: Iqweqwe Le-albhamu Yomculo iyanelisa iimfuno ngokumangalisayo, ichukumisa iinqwenelo, ikhwebela iimvakalelo kwaye itsala umdla.

Emva Koyilo

Ikhithi Yeendaba

Iziqinisekiso, amalungu eqela kunye neenkcukacha zobugcisa ezinikezelwe ngumyili.

Iimpawu Ezizodwa: The cover of Chopin Residue is generated from the album’s core idea: residue as what remains after deconstruction. Created through the same lathe-cut process that produces the sound, the artwork uses vinyl waste as its visual material. Reinterpreting the music of Fryderyk Chopin with artists linked to projects such as Portishead, Sonic Youth, Battles, Beck, David Bowie, and Tortoise, the package becomes a physical extension of the composition, uniting sound, material, and process.
Imilinganiselo nePakishini: Physical formats include: Vinyl LP sleeve approx. 315 x 315 x 5 mm; CD digipack approx. 142 x 125 x 10 mm; cassette case approx. 110 x 70 x 17 mm. All formats were designed as tactile objects, with dimensions following industry standards to emphasize material presence and consistency across editions.
Iithegi: residue concept, album packaging design, lathe-cut vinyl, material-driven design, experimental music artwork, process-based design, sound as material, physical music object
Ubuchwepheshe Bokuvelisa: The design was developed through a process-based methodology, treating sound recording as a material practice. Vinyl shavings produced during the lathe-cut process were collected, preserved, and used to create physical artworks. These works were then photographed and translated into the album packaging. The production emphasized minimal intervention, tactile materials, and small-batch manufacturing, allowing process and material to define the visual language.
Umngeni Woyilo: The main challenge was translating an abstract musical concept into a physical object without illustration or decoration. Internally, this required rethinking historical album design and treating sound production as material practice. Externally, limitations included small-scale manufacturing, legal constraints of physical formats, and the unpredictability of lathe-cut processes. Balancing conceptual clarity with technical constraints required continuous testing and adaptation.
Uphando: Type of Research: practice-based artistic research.
Research Objectives: to translate musical deconstruction into physical form.
Methodology: sound recording treated as a material process.
Data & Tools: lathe-cut vinyl recording, material observation, photography.
Participants: the artist and collaborating musicians.
Results: vinyl residue became visual material.
Insights & Impact: the research links sound, object, and design, showing how production traces can shape meaning in music packaging and contemporary design.
Inkuthazo: The project was inspired by the idea of residue as a creative outcome - what remains after a process of reduction and transformation. The design emerged from research into lathe-cut vinyl as a physical recording method, treating sound production as material practice. The motivation was to translate an abstract musical concept into a tangible object, where recording, waste, and form become a unified design language.
Ubude Beprojekthi: The project was developed between 2023 and 2025. Music recording and vinyl cutting were carried out during this period, followed by the creation of the visual artworks and packaging design. The album and its physical editions were completed and released in November 2025, accompanied by exhibitions in NY and Osaka and presentations of the related artworks.
Ukuhamba Komsebenzi: The object is experienced by opening, holding, and listening. The package reveals the music while visually showing traces of how it was made. Images and materials guide the user from sound to its physical remains. Interaction is slow and tactile, encouraging attention and reflection. By connecting listening with touch and sight, the object creates a deeper, more memorable experience than a standard album cover.
Iipathenti: Copyrights belong to Mariusz Szypura, 2025
Amagunya Emifanekiso: Image #1: Photo by TAKT, Chopin Residue, 2025.
Image #2: Photo by TAKT, Chopin Residue, 2025.
Image #3: Photo by TAKT, Chopin Residue, 2025.
Image #4: Photo by TAKT, Chopin Residue, 2025.
Image #5: Photo by TAKT, Chopin Residue, 2025.

Video Credits: Concept, Direction, Music, and Visuals by Mariusz Szypura, 2025.