Founded by Olivia Drozdz & Mila Rowyszyn, biuro articulates its practice through accumulation rather than definition. What began as a word : office, meeting point, workplace — has expanded into a mutable structure that absorbs images, bodies, humor, and desire.

Operating between digital production, self-mythology, and entertainment culture, biuro constructs environments populated by recurring characters, shifting identities, and transferable aesthetics. Formats remain open: GIFs, exhibitions, billboards, playlists, objects. Each project extends the same world without stabilizing it.

Artificial intelligence appears not as spectacle, but as a controlled tool, one element among many used to amplify existing narratives rather than replace authorship. Identity, gender, and representation remain fluid, guided by narrative mood and visual intuition rather than fixed categories.

biuro’s universe resists realism. It privileges play, repetition, and fantasy as methods of production, building a living archive that exists simultaneously online and offline, everywhere and nowhere at once.

The name biuro feels almost abstract, like a code or a concept. Why biuro? And after all the worlds you’ve built under this name, what does it represent to you today?

The word biuro means office in Polish.... Fitting, since that’s where we met, somewhere in Warsaw under flickering fluorescent lighting. Over time, the meaning of the word grew with us, beyond the literal, and it came to represent the world of entertainment that we create together. Now, biuro works as a noun, a verb, an adjective, even a subject. We use it to describe anything – objects, artworks, films, sounds, people, and places – that could be part of our golden web.

biuro exists somewhere between digital art, fashion, and storytelling. How would you describe its nature now—an agency, an art project, or perhaps a living, evolving ecosystem?

biuro is a golden web of hospitality and entertainment.;) It’s a physical and digital universe made of moving parts, hidden references, recurring characters and motifs that materialize across different mediums. biuro’s projects can take any form – from a blog to an exhibition, from a gif to a billboard, from a playlist to a deck of cards. For us, every format is a possibility.

Artificial intelligence has always been at the core of biuro’s practice. How do you approach it—as a creative partner, a subconscious collaborator, or a mirror reflecting your own aesthetic instincts? And how do you ensure that technology amplifies rather than overshadows your vision?

We use AI as one of our toolkits, but it’s not at the core of our practice. Ultimately AI is just a tool, an amplifier and remixer, that we use in an almost rustic and simplistic approach. For most of our projects we merge AI with many other tools and techniques, always controlling it so that it serves biuro, not the other way around.

Video generated for the Dilara Findikoglu SS26 collection, Cage of Innocence.

From Beautiful Before Breakfast to Beheaded Beauties, your Girls Series reads like a digital mythology in motion. What emotion or narrative impulse gives birth to these figures? Do you imagine them as portraits, fantasies, or spectral echoes of your own imagination?

biuro is a tapestry of characters... a so-called ‘community’ of the beautiful, the talented, the fascinating. Each of our video-GIF series celebrates a spectrum of artists, characters, and friends, presenting them in ways they don’t usually reveal themselves. Through these series we create a post-digital mythology of biuro characters.

Each series unveils a new facet of femininity—sometimes divine, sometimes distorted. How do you choose which tension or nuance of womanhood to explore next, and what guides your shift from one “digital body” to another?

The shifts between digital characters aren’t guided by gender, but by the narrative, the context and simply our current visual mood. Our re-occuring characters can inhabit different bodies and transform according to the worlds we insert them in. Femininity isn’t something we consciously focus on but we do seek a sexiness and a mischievousness in our characters.

Biuro’s audition tapes. Beautiful Berfore Breakfast

The women you create are both empowered and fragile, perfect yet uncanny. On Instagram and your website, they appear like divine avatars—elegant, glitchy, and hyper-stylized. A distinctive aspect of biuro’s practice is that you physically represent yourselves within this world—through both real photography and digital or AI-generated depictions of your own bodies. What draws you to this act of self-representation, and how does embodying your creations shape the way you explore femininity and identity in the digital age?

The two of us move through life in a slightly comical, Disney-like way, and every work we create amplifies a fairytale of ourselves, our friends, and our little worlds. We want it to feel like magic, like an escape. But above all, it’s just a way of playing between ourselves, of using our personas – whether animated, pixelated, or hyper-stylised – as a point of departure. In the end, it’s all a fantasy.

The Biuro Blissful Base feels like an imagined residence perched somewhere above Los Angeles - half dream, half digital mirage. WINK, though physically shown in Warsaw, seems to inhabit the same landscape, as if both belong to an ongoing mythology of your own making.

Los Angeles, in your world, appears less as a city and more as a state of mind—an atmosphere, a projection.

How does this imagined geography shape biuro’s identity? And do the Blissful House and WINK function as extensions of this mythic LA, or as entirely new spaces where your digital selves can exist freely?

Poland is the foundation of our humor, our references, our visuals... And while every city we’ve passed through shapes us, LA has recently become the wildest influence for us. It’s whimsical, confusing, magical – a spectacle where everything and everyone is extremely strange and beautiful. Cinematic and bizarre – LA is the capital of entertainment, the closest to a creative purgatory. In a surprising way, both Poland and LA carry this uncanny, dark, and dreamlike energy that fuels biuro. All of our projects live inside this energy, they inhabit non-spaces, creating a ghostly and imagined cartography... biuro exists everywhere and nowhere at once.

Image from WINK, a biuro exhibition with Weronika Guenther and Mariola Przyjemska, curated by Zuzanna Belska at Cobalt Space in Warsaw.

Your imagery resonates with echoes of Hollywood glamour, internet culture, cartoons, and gaming. What are your main visual and cultural inspirations, and how do you transform them into biuro’s distinct aesthetic language?

Our key references are the multi-translatable-fantasy-worlds created by Hugh Hefner and Walt Disney – worlds that outlived them and will probably outlive us too. We also draw from anything in the vortex of graphic culture, from archival eBay listings and gamified porn to hotel stationery and internet archives. For biuro, we extract the golden finds from all these elements and exploit them through digital tools.

There’s a strong sense of community in what you do, yet it feels like a very selective, almost sacred circle. In the fashion world, you’ve collaborated with houses such as Balenciaga and Dilara Findikoglu, while projects like the one with Rosalía belong to a different artistic sphere altogether.

How do you approach collaboration and representation across these contexts—fashion, music, and art, and what determines who becomes part of the biuro world?

biuro has a bizarre ambiguity, yet it’s very simple. Either you get it or you don’t. If someone is willing to look deeper and connect the dots, it means we can collaborate. In this way we have created a community of characters, brands, and companies with whom we partner with. It’s never about big or small, high or low, we work with people we resonate with.

Finally, biuro has evolved into something beyond an art project—it’s a shared world. From biuro Nights music experiences to biuro’s Super Cool Jokes & Games, and even biuro Stationery. How do you cultivate this playful yet devoted community, and what role does participation play in your creative philosophy?

Our main goal is to entertain and be entertained...It’s about who wants to play. ;)