Piotr Szyhalski

Before Szyhalski himself traveled outside of Poland, his mail art had reached a network of correspondents around the world in the form of postcards. These were contact prints on photographic paper from handmade negatives, either paper cutouts glued to glass or cliché verre designs scratched into a black-coated glass plate.[4] Some of these Private Post-Cards were published in zines like Lloyd Dunn's PhotoStatic.

Each of these 30 animated posters "slowly evolves through a series of carefully orchestrated transitions of text and image," usually contradicting the initial message and confounding viewers' expectations.[5] The animation speed was not programmed, but was based on the inherent limitations of the early internet: slow download speeds, HTML 2.0 and Netscape 1.1.

Szyhalski commented, "[T]his really isn't about computers anymore.... This is no longer about the tools, this is a new possibility of communicating thoughts and feelings.... I work on little posters on the internet, but they are never things, only ideas.... Suddenly you can just communicate thought.... [I]t reaches you but you can't buy it."[6]

This interactive web-based artwork was the first commission of the Walker Art Center's New Media Initiatives department.[7] The New York Times on the Web commented, "Szyhalski's user-controlled creation is deeply involving and richly allusive. It is his most fully realized work to date and one of the most accomplished pieces of art on the Web.... Like Vladimir Nabokov and Tom Stoppard, the Polish-born Szyhalski has an Eastern European's flair for extracting the multiple meanings from a word in his newly adopted tongue."[8]

Szyhalski's first website included the Electric Posters and Ding an sich along with thirteen increasingly interactive pieces. The Wall Street Journal quoted Szyhalski as saying "that the Web artist relies on audience participation to make the work exist. In some cases, authorship becomes a joint project between the artist and the viewer."[9]

"Originally premiered in 2001, Heitzeg’s massive opus was augmented this time by state-of-the-art graphics created by students at the Minneapolis College of Art and Design, impressively directed by Piotr Szyhalski and projected on a huge screen above the chorus. Each of the symphony’s six sections were introduced by vertical lines oscillating back and forth, leaving words in their wake, and interspersed with images of wood being sawed, shaped, and sanded to construct a chair, reflecting a poignant recurring sentence by Pablo Neruda, 'Peace begins in a single chair.'"[10]

Interactive multimedia installation by Piotr Szyhalski and Richard Shelton, commissioned by the Walker Art Center. Gallery visitors typed questions to a CGI-animated bottlenose dolphin whose artificial intelligence answered in dolphin noises that were subtitled in English on a large screen.[11]

In response to the global COVID-19 pandemic and political and social upheaval in the United States, Szyhalski drew and inked a poster a day from March 24 until the U.S. presidential election on November 3, 2020.[12] Each of the 225 appeared daily on Instagram. Some were printed by followers and pasted on walls in Los Angeles, Minneapolis, Baltimore, and Philadelphia;[13] and the entire series was published as a book.[14] The New York Times said the series used "the style and language of propaganda posters to capture the pain and absurdity of the pandemic, with heavy doses of sarcasm and rage at the federal government’s response... [T]he works are meticulous but piercing, like a carefully released primal scream."[15]