(b Lódz, 3 May 1924). Polish sculptor, draughtsman, painter, ceramicist, printmaker and tapestry designer. He studied at the School of Fine Arts in Lódz, graduating in 1951. His style derives from Constructivism and from the ‘Unism’ of his teacher WLADYSLAW STRZEMINSKI. Starczewski’s complex art uses the complementary treatment in combination with different visual disciplines. He was particularly interested in rhythmic, precise arrangements of forms and signs (e.g. MF 7/9, embossed paper, 1972, see D. Wróblewska: Polish Contemporary Graphic Art (Warsaw, 1983), fig. 18). One of his earliest works was a large-scale ceramic bas-relief entitled Disposition for Two Hands (1959–60), a geometric abstraction made for the University Library in Lódz. In 1963 he produced his first Alphabet of sculptural signs, a series of works that led to his conception of Tables (examples of both in Lódz, Mus. A.), which he started to create in 1973. On a long, rectangular table covered with a white tablecloth, Starczewski arranged alternate rows of identical forms, such as potatoes or bread rolls (ceramic or real), or sequences of three objects (e.g. a wine glass, toothbrush and tube of toothpaste). These arrangements are accompanied by graphic compositions that explore different types of signs (print, braille, handwriting) and examine their relationship (e.g. Drawing Nr 2, pencil and collage, 1974; and Vowel Arrangement Based on a Text, typescript, 1978; both Lódz, Mus. A.). Starczewski’s tapestries also illustrate his fascination with signs and are supported by the Recitatives, declamations recorded on tape.