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Tomek Ducki’s graduation film from the MOME travelled around the world, won many awards and was also nominated for the prestigious Cartoon d’Or award. This gloomy and even depressing film with no dialogue depicts two characters becoming closer in a precise mechanical world with strict rules, narrow paths and where one’s life is clearly defined.

In this music video from the beginning of his music video career, Ducki combined real footage with animation. In the music video, Basement Jaxx are accompanied by animated bears against a pulsating colourful background.

Apart from music videos, Tomek Ducki also realises his potential in the field of festival visuals and jingles. For the Etiuda & Anima International Festival, he made a playful and rhythmical jingle. Its 20-second-long story uses the motif of letters from the name of the festival held annually in Kraków.

Tomek Ducki’s commissioned work is full of colours but his authorial work tends to be more economical with colours. And this is the case with his film Silent Touch made at the British National Film and Television School. It is Ducki’s most realistic film as far as its execution is concerned, but its plot with live trees in a winter landscape is unusually mystical.

In the music video for Basement Jaxx’s song Unicorn, Tomek Ducki turned away from watercolour aesthetics and chose intense colours and defined shapes. At first he alternates and then entwines abstract parts with fragments of narratives. A unicorn loses its horn and the unfortunate animal, which on top of it all falls apart into three pieces, sets out to find it. The search itself is the framework of the music video’s storyline.

In this music video, the director works mainly with striking colours and contrasts. In a variation of the motif of Adam and Eve’s original sin, he puts emphasis on the female character. The technique of the music video that, incidentally, won the award for the Best Music Video at Anifilm a couple of years ago, is reminiscent of watercolour paintings.

In the jingle for the Animator Festival in Poznań, Ducki used the contrast of blurred watercolours and black and white elements. The jingle with gradually increasing dynamics is also characterised by a combination of multiple animation techniques and its motif is slightly reminiscent of the director’s first film Life Line.

Yet another of Ducki’s music videos adheres to his unique artistic and animation style. This music video was made for the song Daydreamer by Bipolar Sunshine. The music video thematises and variates the relationship of a man and a woman. The director uses original collages full of colours, motifs and geometric shapes.

This artistically captivating film with a magical atmosphere takes us into the seemingly everlasting peace of an old spa. Elderly women submerge into the water to find a fantastic but also peculiarly unpredictable (almost horror-like) world. The peaceful atmosphere of the traditional spa suddenly changes and becomes eerie.

Also in the case of this music video, Tomek Ducki follows up on his distinctive colourful and dynamic style. But at the same time, he mixes several artistic approaches and animation techniques. In the music video for Animals by Emily King, he masterfully combines the aesthetics of sand, hand drawing and pulsating abstract shapes that together with the music create a vivid spectacle.

Tomek Ducki made a lively and inventive festival jingle for the Hungarian festival Anilogue, which is held annually in Budapest. It follows a dog that gets inside a dice and finds itself in an unsolvable situation.

In the music video for Man in the Moon, we follow a young couple travelling to the Moon. Their desire to get there is so strong that nothing can stop them even though their dream destination is very elusive. This romantic music video is a visual play with space shapes, objects and colour tones.

This film commissioned by a museum in Warsaw depicts the legend of how the city was founded. A sequence of fantastic scenes tells the love story of fisherman Vars and a mermaid which can be found in the city’s coat of arms. The film also works with period materials such as historical city maps and explores the motif of merciless time.

With its visual style, Tomek Ducki’s latest music video is a follow up on his previous work. We again watch clearly defined characters against a blurry and partially abstract background. With his feeling for colour and by using plant symbolism underlining the nostalgic story, Ducki made a unique music video about a woman bound by family ties.