“We had the pleasure to come across Zamojski’s work at this year’s edition of DAMA, Turin. The artist’s site-specific work for the Leto Gallery room was the winner of the first edition of ARM DAMA Prize.

Zamojski extends his practice to many fields – he is a visual artist, a designer, a publisher, and a curator. He has created his own language and grammar using a confluence of interests – from philosophy and mathematics to poetry, charts, and pop culture. These clashing territories are examined by the artist with a poetical sense of humor and a problem-solving attitude. Zamojski is represented by Drei (Cologne) and Leto Gallery (Warsaw), having also exhibited at Andrew Kreps, Foksal Gallery, Frutta Gallery, Zachęta National Gallery of Art, among others. Additionally, Zamojski has presented his lecture on self-publishing, titled “How it’s Made”, at the Centre Pompidou, MoMA Library, and Printed Matter New York.

Catarina Vaz: How do your studies and areas of expertise – design, typography, curating, publishing, and philosophy – influence your work as a visual artist?

Honza Zamojski: As you write – I am a visual artist and almost everything I do is visual. Individual ranges of interests or passions constantly influence each other and thanks to this the book can be an exhibition, the exhibition can be “designed” and typography can be an art. I am convinced that the shape of the artistic practice of each artist is influenced more by his private passions than by the public reception and social overtones of the work.

CV: We can find the presence of drawing in all of your works, either in charts, typography, or three-dimensional pieces. Can you tell us how drawing influences your process?

HZ: Drawing is the foundation. Or rather “writing” the drawing, because in my understanding it always has the character of a note, it is an attempt to capture thoughts, jokes, emotions – sometimes with words and sometimes synthetically – using forms and shapes. The gesture is less important to me than the grammar of the drawing in the area of paper sheet. Then it becomes closer to the language, taking the form of personal hieroglyphs, and the collection of drawings becomes something like an encyclopedia of ideas that I can always reach for.”