Chopin Residue Iṣẹ́ Pàtàkì: Ìbòjú Àwo Orin láti ọwọ́ Mariusz Szypura jẹ́ aṣẹ́gun olókìkí púpọ̀ ti 2026 Àmì-ẹ̀yẹ Idẹ A' Design Award nínú Ẹ̀ka Ìdíje Àpẹẹrẹ Ìdìpò.
IdẹÌdìpò· 2026
Chopin Residue Iṣẹ́ Pàtàkì: Ìbòjú Àwo Orin
látọ̀wọ́ Mariusz Szypura
Oníbàárà: Black Element Label
Aṣẹ́gun Àmì-ẹ̀yẹ Idẹ A' Design Award nínú Ẹ̀ka Ìdìpò
Aṣẹ́gun Àmì Ẹ̀yẹ Tí a Jẹ́rìísí
Jẹ́rìísí Ipò Àmì Ẹ̀yẹ fún #179587Àpẹrẹ Náà
Nípa Chopin Residue Iṣẹ́ Pàtàkì: Ìbòjú Àwo Orin
Ọ̀rọ̀ Ìwé: Iṣẹ́ ọnà tí ó wà nínú àwọn àfikún àwo náà ṣe àkọsílẹ̀ ọ̀wọ́ àwọn ege ńlá tí a ṣẹ̀dá láti inú ìdọ̀tí òwú tí a ṣe lákòókò ìlànà gígé fáínì pẹ̀lú ọ̀pá yíyí, èyí jẹ́ àwòrán òdì ti pápá náà ní ti gidi. Àpẹrẹ náà ń ṣàmúlò àpótí náà gẹ́gẹ́ bí ìtẹ̀síwájú orin, ó so ìró, ohun èlò, àti ìlànà papọ̀ nínú ohun kan ṣoṣo tó wà ní ti gidi. Àwo náà tún túmọ̀ àwọn iṣẹ́ Fryderyk Chopin pẹ̀lú àwọn ayàwòrán tí ó ní ìbáṣepọ̀ pẹ̀lú Portishead, Sonic Youth, Battles, Beck, David Bowie, àti Tortoise.
Ìdánimọ̀ Náà
Nípa Àmì-ẹ̀yẹ Idẹ A' Design Award
Chopin Residue Iṣẹ́ Pàtàkì: Ìbòjú Àwo Orin jẹ́ olùborí Àmì-ẹ̀yẹ Idẹ A' Design Award, ìdánimọ̀ olókìkí gan-an tí a fún àwọn àwòṣe tó tayọ tí wọ́n yàtọ̀ nípasẹ̀ ìṣẹ̀dá, àrékérekè àti ọgbọ́n inú. Àwọn olùborí Idẹ jẹ́ àwọn ohun èlò tó ní ìjáfáfá gan-an tí wọ́n sì ní ìṣẹ̀dá tó yani lẹ́nu tí wọ́n ń ṣe ẹ̀rí ìrírí gbígbòòrò, ìrònú àti ọgbọ́n àwọn olùṣàwòṣe wọn. A retí pé Chopin Residue Iṣẹ́ Pàtàkì: Ìbòjú Àwo Orin yóò jẹ́ ohun tí a kà sí gidigidi, tí a gbóríyìn fún tí a sì nífẹ̀ẹ́, tó jẹ́ ti ọ̀jáfáfá lọ́nà tó ṣe pàtàkì tó sì ní ìmúṣẹ̀dá tuntun. Àwòṣe tó borí Àmì-ẹ̀yẹ Idẹ A' Design Award yìí ń kó àwọn ọ̀nà tó dára jùlọ nínú iṣẹ́ ọnà, sáyẹ́ǹsì, àwòṣe àti ìmọ̀-ẹ̀rọ jọ, ó sì tayọ nítorí àfiyèsí rẹ̀ sí àwọn àlàyé kékeré. Chopin Residue Iṣẹ́ Pàtàkì: Ìbòjú Àwo Orin ń tẹ́ àwọn ohun tí a nílò lọ́rùn lọ́nà àgbàyanu, ó ń fọwọ́ kan àwọn ìfẹ́ inú, ó ń gbà ọkàn ó sì ń fa ìfẹ́ láti mọ̀ mọ́ra.
Lẹ́yìn Àpẹrẹ Náà
Àkójọ Ìròyìn
Àwọn ẹ̀tọ́, àwọn ọmọ ẹgbẹ́ àti àlàyé ìmọ̀ ẹ̀rọ tí olùṣàpẹrẹ pèsè.
- Àwọn Ohun Àkànṣe
- 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.
- Ìwọ̀n àti Àpò
- 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.
- Àwọn Àkọlé
- residue concept, album packaging design, lathe-cut vinyl, material-driven design, experimental music artwork, process-based design, sound as material, physical music object
- Ìmọ̀-ẹ̀rọ Ìṣelọ́pọ̀
- 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.
- Ìpèníjà Àpèsè
- 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.
- Ìwádìí
- 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. - Ìmísí
- 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.
- Àkókò Iṣẹ́ Àkànṣe
- 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.
- Ìlànà Ìṣiṣẹ́
- 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.
- Àwọn Ìwé-ẹ̀rí Ohun-Ìmọ̀
- Copyrights belong to Mariusz Szypura, 2025
- Ìfọwọ́sí Àwòrán
- 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.
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