Set Design Workshop by Ewa Braun, Polish National Film School.

Traveling back in time by recreating environments, objects, and textures from 1930s and 1970s Poland, we constructed 14 film sets within an atelier space. These carefully designed settings shaped not only the visual narrative but also the emotions and atmosphere within them, influencing how both actors and audiences experience the story. Brought to life through engaging storytelling, performances, and lighting, the sets became immersive portals to the past.

Direction: Salvador Guerrero
Photography: Joaquin del Paso

Aiming to create an immersive environment that embodied the four elements—Earth, Water, Air, and Fire—through organic textures, flowing fabrics, dynamic lighting, and natural materials, the production design emphasized harmony between humans and nature, incorporating symbolic representations of each element to enhance the ritualistic and ancestral themes present in both the music and visuals.

At the Great Theatre in Łódź, all elements of an opera production are created and coordinated within the theater's internal workshops and resources. The building houses a factory, historical archives, and a dedicated team working together to bring the opera spectacle to life. I was honored to be part of this large-scale endeavor as a member of the production department, overseeing the execution of various elements and facilitating communication across the production teams.

Twelfth Night, Teatr Nowy w Łodzi. Direction: Katarzyna Raduszyńska.

The scenography balanced period-inspired aesthetics with contemporary, almost absurdist touches, blurring the line between tradition and modern reinterpretation. This ever-changing stage became an active participant in the performance, enhancing the playful yet melancholic tone of the production.

Academy of Fine Arts Łódź, Poland. Doll Design and Animation Studio Course – led by Marek Skrobecki.

My journey began in post-communist Poland, in the city of Łódź. I grew up in a building that had once been a hospital before the Second World War, right in the city center. The landscape around me was raw and gray — years of communism had enforced a hermetic, closed atmosphere. The wall had fallen, but Poland still felt confined within four walls. I wanted to capture that fleeting moment in history — to explore how the individual found themselves within it, suspended between two realities.

I wanted to capture that fleeting moment in history—to explore how the individual found themselves within it, suspended between two realities. To do that, I portrayed my neighbor, an older woman, uncertain whether she lives in the past or the future.

Directer by Robin Lipo

Directer by Robin Lipo

Directer by Robin Lipo

Directer by Robin Lipo

Directer by Robin Lipo