Chopin Residue Tlayehyecōlli: Īxāmatl īpan Tlatzotzonalcuīcatl ītēchcopa Mariusz Szypura

Tlanāhuatīlli Chopin Residue Tlayehyecōlli: Īxāmatl īpan Tlatzotzonalcuīcatl ītēchcopa Mariusz Szypura cē cencā mahuizzō tēmacēhualōni īpan huēyi 2026 Mahuizolli A' Design Award Bronse īpan Tlaquimilolli Tlachihchihualiztli Nēhuilīztli Tlamantli.

BronseTlaquimilolli· 2026

Chopin Residue Tlayehyecōlli: Īxāmatl īpan Tlatzotzonalcuīcatl

īpal Mariusz Szypura

Tlanāhuatīlli: Black Element Label

Mahuizolli A' Design Award Bronse Tēmacēhualōni īpan Tlaquimilolli Tlamantli

7,551

Tlaneltīlīlli Tēmacēhualōni

Xictlaneltilia Tēmacēhualli ītēchcopa #179587

Xiquitta Tlahcuilōlcalli Xiquitta A' Design Award ītechcopa Āmatl Tēmachiyōtīliztli Tlamachiōtl

Tlapalli

Tlanēxtilistli

Ītechcopa Chopin Residue Tlayehyecōlli: Īxāmatl īpan Tlatzotzonalcuīcatl

Tlahcuilōllōtl tlein nēci īpan tlatzotzonalcuīcatl īntlahtzonhuīlōni quitēixpantia cē tlamantli huehhuēyi tlachīuhtli tlein ōmochīuh ica tilmahtzonyo tlein quīza īpan vinilli tlatequiliztli, in tlatlālīlpan īneltiliz negativo. In tlayehyecōlli quitta in ēhualiztli quēnamì cē tlanonotzaliztli ītech in cuīcatl, quicentlālia tlacaquiliztli, tlachīhualōni, ihuān tlachīhualiztli īpan cē tlālticpac tlamantli. In cuīcatl occeppa quipōhua ītlachīhualhuān Fryderyk Chopin īnhuān tlatzotzonqueh tlein monāmiquih ica Portishead, Sonic Youth, Battles, Beck, David Bowie, ihuān Tortoise.

Tēixīmachōtiliztli

Ītechcopa Mahuizolli A' Design Award Bronse

Chopin Residue Tlayehyecōlli: Īxāmatl īpan Tlatzotzonalcuīcatl ca in quicuic in Mahuizolli A' Design Award Bronse, hueyi tlamahuizoliztli tlen momaca in cualli tlachihualli in motenehua ipampa yancuic tlamantli, tlamatiliztli ihuan ixtlamatiliztli. In quicuicah Bronse ca tlachihualli in quipia toltecayotl ihuan quinextia in cenca miac nemiliztli ihuan tlamatiliztli intlachihuanime. Ca quinequi in Chopin Residue Tlayehyecōlli: Īxāmatl īpan Tlatzotzonalcuīcatl ca tlazohtli tlamantli, mahuiztic ihuan cualli. Ni dizayno in quicuic Bronse quipia cualli toltecayotl ihuan quitta in tlen tepiton. Chopin Residue Tlayehyecōlli: Īxāmatl īpan Tlatzotzonalcuīcatl quipaquiltia in tlacah ihuan quitlamahuiztiltia in intlanequiliz.

Tlanēxtilistli Ītēixpan

Āmatl Tlanextīliztli

Tlapōhualli, tēquitqueh īwan tēchmachilīztli ōquinmaca in tlanēxtīlīlli.

Cē Zan Ītēchcopa: 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.
Huēyiliztli īhuān Tlacualtepēhualli: 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.
Tōcāitl: residue concept, album packaging design, lathe-cut vinyl, material-driven design, experimental music artwork, process-based design, sound as material, physical music object
Tlachīhualiztli Māchiyōtl: 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.
Tlanāhuatīlli Nētēcahuilīztli: 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.
Tlatēmōliztli: 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.
Tēyōllālīliztli: 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.
Tēquitl Cāhuitl: 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.
Tēquitl Ōhuitl: 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.
Patentēmeh: Copyrights belong to Mariusz Szypura, 2025
Īxiptla Tlanēxtīlli: 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.