“Masarnia” is the January (2013), and at the same time the third, design from the “XII” collection, entirely designed by Karina Wiciak.
At first glance, “Masarnia” looks like a sweet, winter-Christmas picture, or like a modern, elegant interior. Glass furniture and lamps give the impression of wealth, and the classic, red colour is a decorative feature in the minimalistic, white interior.
Yet, on closer inspection it turns out that the interior is more macabre than sweet.
It turns out that the white furniture and lamps are rescaled elements of the human body, and the red elements of the design imitate blood. As you can see, the glass decorations with sharp edges are also not random, as, according to the author’s conception, they were used to make these gruesome furniture.
The design symbolically shows objective treatment of the human body, e.g. when creating the so-called consumer goods (including design).
The author believes that if people can destroy or exploit the nature, than perhaps it is worth to think what would happen in the roles were reversed? Yet, this design is neither an ecological manifesto, nor an attempt to preach. „Masarnia” (like the previous design “Slaughterhouse”) is merely a pretext for reflection and another concept of an interior with a slight (perhaps black) sense of humour.

The “Masarnia” (which in Polish means “butchery”) design includes glass table “Szklany” (which in Polish means “glass”),
a chandelier “Szklany”,
a glass hocker “Szklany”,
a suspended lamp “But” (which in Polish means “shoe”),
a chandelier “Korpus” ( which in Polish means “human trunk”),
a armchair “Korpus”.

About the collection “XII”
The collection "XII" will consist of 12 thematic interior designs, together with furniture and fittings, which in each part will be interconnected, not only in terms of style, but also by name. Each subsequent design will be created within one month, and the entire collection will take one year to create.
Here, visualization is to constitute more than a design, which is thrown away after implementation of the interior design, but mainly an image, which has a deeper meaning and can function individually, for instance as a print on a wall, or even a CD cover.
These will not be interiors made to a specific order, but designs based on the author’s fantasy and his fascinations of various sorts. It will be possible to order a specific interior design in the form of adaptation of the selected part of the collection, on the basis of exclusivity.
The author’s assumption was not to create trite, fashionable interiors, but non-standard places, full of symbols and metaphors, at the borderline between architecture and scenography.
Due to their nature, these are mostly commercial interiors, intended for use and reception by a larger group of people. Yet, it was not supposed to be an art gallery, in which art is merely watched, but places in which it could be put into use and to do virtually everything – depending on the purpose and function of the premises.
The author of the collection did not strive to artificially ascribe ideology to random ideas, but rather to make the entire design readable and coherent, and at the same time to design every item specifically for the given interior.