marta pienkosz

Brand Design

Computational Art

IBM Qantum Brand Visuals

A cohesive visual brand language developed for IBM Quantum, spanning digital, product, and event applications.

FIELD
Xander Marritt, Paul Brenner, Tom Feustel, Jann Choy, Max Palmer, Riccardo Torresi, Xander Marritt, Marta Pienkosz, Dominique Dautheribes, Asako Fujimoto, Celine Parun

[ VIEW ]

Movements Against Mass Incarceration

An archival platform for Movements Against Mass Incarceration at Columbia University’s Incite Institute, centering the political ideas and movement-building of incarcerated people and their allies.

Huncwot
Arek Romanski, Magda Gauger, Marta Pienkosz, Greg Matyszewski, Magdalena Kęsik

[ VIEW ]

Synesthesia

A generative visual system for Heaf’s single-origin coffee bean packaging, translating the diffusion of a coffee pour through a custom TouchDesigner algorithm into key visuals. Supported by a sensory campaign in which coffee was brewed into pigment and used for painting.

heaf
Marta Pienkosz, Ilya Akimov

Rhenium

A conceptual performance identity for Rhenium, built around endurance and engineered resilience. Drawing from the elemental properties of one of the rarest and most heat-resistant metals, the system translates material science into visual form.

The eroded logomark and modular dot system reference molecular structure, while animated translucent layers evoke metal under extreme heat, visualizing thermal resistance and structural integrity. This language carries into the garments through sheer layers and exposed construction details.

Generated with Midjourney.

heaf

A holistic creative direction for heaf, a Dubai-based hospitality brand rooted in Bedouin traditions, spanning digital content, physical and pop-up design, and original branded experiences.

heaf
Marta Pienkosz, Ilya Akimov

[ VIEW ]

Sillage

A tactile brand identity for Sillage, a specialty coffee space in Al Ain Oasis, shaped by the idea of flavour that remains. Expressed through Sadu-inspired patterns, a handwritten monogram, and scanned material textures from the physical space.

heaf
Marta Pienkosz, Ilya Akimov

Qani

Qani is a modern tea house named after the crimson hue of poured tea (قاني). Conceived as a living archive, each harvest is catalogued, indexed, and treated as a finite document of place and season.

The visual language draws from herbarium sheets and botanical preservation: scanned tea leaves presented as specimens. Labels intentionally state the total kilograms of each lot to emphasize material reality and scale, while the website mirrors a system of files and drawers, with the index as its central organizing structure.

Vicissitude

‘Vicissitude’ explores the application of numerical systems to unpredictable natural phenomena, translating real-time weather data from a user-selected location into generative visual outputs in TouchDesigner.

Evanescence

‘Evanescence’ explores consciousness and memory through algorithmic image degradation, applying vertical pixel displacement to personal photographs to produce fading, trailing distortions.

The Hidden Third

‘The Hidden Third’ explores the multidimensionality of identity and perception through a research-based installation centered on a single cotton gauze cloth, transformed through scanning, projection, superimposition, and print to blur the boundaries between reality and representation.

Activated by movement, the central projection reveals itself only through the viewer’s presence, while accompanying works—Elongation, Dethreading, and Re-printing—extend this inquiry into transience, impermanence, and the fragile line between existence and perception.

Timescapes

‘Timescapes’ explores nature’s ever-changing patterns. Based on photographs of erosion marks formed by wind and water—etched into rock or sculpted in sand—the work translates natural traces into abstract tangles with a surreal, cosmic, and mystical aesthetic.

marta pienkosz

Info