鈥淚 Had No Signal. I Was in a Canal.鈥�
A text message from Karina Lisiecka to Pawe艂 Hikisz:
I鈥檓 at that abandoned church, but I have no idea which side I can enter from. Could you help me?
Eight hours later, Pawe艂 replied:
Sorry I didn鈥檛 get back to you. I had no signal. I was in a canal.
This is how Karina Lisiecka describes one of her conversations with Pawe艂 Hikisz. The anecdote perfectly illustrates what has occupied and fascinated the photographer for years: the underground world.
I have long been fascinated by abandoned places, but also by underground spaces. It was this fascination that eventually led me to the canals
鈥� said Pawe艂 Hikisz during the meeting.
His fascination with what lies beneath the surface has remained unchanged and continues to grow. However, more on that later. First, let us look at how the exhibition came into being.
From Passion to Project: The Story Behind 鈥淧odziemna 艁贸d藕鈥�
Pawe艂 Hikisz had been photographing canals for years and sharing the images on his social media page. His work did not go unnoticed by employees of ZWiK, who were equally fascinated by the history and unique atmosphere of the canals and felt that these hidden spaces deserved to be shown to people who would otherwise never be able to see them. At the same time, they were keen to promote safety and discourage unauthorised access. This led to the idea of a cooperation inspired by the 100th anniversary of ZWiK, with all visits carried out legally and in accordance with strict safety procedures. The photographs created as part of this project resulted in the exhibition 鈥淧odziemna 艁贸d藕鈥�, which was originally displayed at 艁贸d藕 Fabryczna railway station.
The photographer emphasised that the project could only be completed thanks to the support and professionalism of the employees responsible for preparing and securing each descent underground.
For safety reasons, I was always accompanied by several employees. Some remained on the surface so that, in case of danger, they could bring us back up. First, the canal was ventilated for more than a dozen minutes, then detectors were used to check for hazardous gases. Only then could we enter
鈥� explained Pawe艂 Hikisz.
Once, we had to abandon an entry. When we arrived, a light drizzle began to fall. I thought it was nothing serious and even started to become a little impatient while we waited. After a few minutes, the employees called off the descent. I was not particularly pleased, but I respected the decision. I decided to walk along the Jasie艅 canal above ground instead. I was astonished because within just several minutes the water level rose rapidly, by around 20 centimetres. I had not realised how quickly it could happen. Later, I learned that when it rains, underground canals can fill extremely quickly, and the escape route is not always accessible. Not every manhole can be opened and some are located in the middle of busy roads. In such circumstances, a person can become trapped, and the consequences may be tragic.
鈥� recalled the author.
The discussion also included lighter stories from underground expeditions. Hikisz remembered how ZWiK employees accompanying him would always try to show him places he had never seen before:
The employees who joined me underground always asked whether I had already visited a particular canal. They were eager to show me something new. Usually, unfortunately, it turned out that I had already been there. But once they managed to surprise me. They took me somewhere I had never seen before. They were absolutely delighted.
From Urban Canals to Historical Frames
The photographs presented at the exhibition reveal the extraordinary world of 艁贸d藕鈥檚 canals, channelled rivers and overflow chambers that have formed part of the city鈥檚 infrastructure for more than a century.
The photographer pointed out that 艁贸d藕鈥檚 canals are unique on a national scale. Most of them were built of brick according to the designs of British engineer Sir William Lindley, making them resemble historic underground tunnels rather than modern collectors.
The very fact that they are made of brick makes them look like nineteenth-century underground tunnels rather than harsh concrete culverts. They are underground structures crafted with genuine skill. They are unique in Poland; only Warsaw has similar canals
鈥� he emphasised.
During the event, participants learned how the photographs were created in the canals of the 艁贸dka, Jasie艅, Ba艂utka and Karolewka rivers, as well as in the impressive chamber known as the 鈥渟tar鈥� beneath 艁贸d藕 Kaliska railway station. Dr Hikisz described the many hours spent underground and the demanding working conditions.
Photographing canals is a painstaking process. In the darkness, a torch is the only source of light. The camera stands on a tripod during long exposures, and everything is illuminated manually. Sometimes a single photograph took up to ten minutes to create. Meanwhile, I was running around with a torch, lighting individual elements exactly as I wanted them. Occasionally, after a four- or five-hour expedition, I returned with only five photographs. The entire project lasted three months and involved nearly ten descents underground
鈥� he explained.
The photographs displayed in the exhibition not only document the present-day appearance of locations linked to the city鈥檚 history and the activities of ZWiK, but also create a visual record for future generations. The juxtaposition of contemporary and archival photographs highlights the scale of change that has taken place over the years and demonstrates the importance of preserving local heritage.
I hope that, in the future, my work will also become valuable historical material. Thanks to ZWiK, visitors can see archival photographs at the exhibition. It is fascinating to stand in these places and see how much they have changed. Perhaps in a hundred years my photographs will become archival documents, and someone will look at these historic places with nostalgia
鈥� added Pawe艂 Hikisz.
From Raw Architecture to the Human Presence
One of the most interesting themes of the meeting was the photographer鈥檚 changing approach to his work. Until now, he had focused mainly on architecture and space, but for the first time people played a major role in a project of this kind.
The most difficult part was photographing people. Until now, I had photographed only the canals themselves. This time, I was asked to include ZWiK employees in the photographs. That is a completely different type of photography
鈥� admitted the photographer.
As he explained, the human presence made it possible to better convey both the scale of the underground structures and the nature of the work carried out there.
For the first time, I have seen how interesting a person looks in an underground space. The human element gives the photographs context and shows the scale of these structures. Sometimes they are enormous spaces that impress with their size and architectural craftsmanship; at other times they are extremely narrow and cramped passages where moving around is difficult. It also reveals the challenging conditions in which ZWiK employees sometimes work. They may have to move on their knees through narrow, low canals, surrounded by unpleasant smells, cold and dampness
鈥� he said.
From Urban Canals to Wild Caves
The author also spoke about his growing fascination with another type of underground space: caves. His underground explorations have recently expanded to include caves in the Krak贸w-Cz臋stochowa Upland. He pointed out the new challenges they present:
Caves are much more demanding. The variety of rock formations and the ever-present darkness make them more difficult to photograph. In addition, cave expeditions require much better physical fitness than I have. But I still enjoy them tremendously. In caves, just as in canals, there is a distinctive smell. I would describe it as the scent of wet brick, and for me it is actually quite pleasant.
The meeting concluded with a discussion with the audience, reflections on the architectural heritage of 艁贸d藕 and encouragement to explore the lesser-known chapters of the city鈥檚 history.
Although the opening event has already taken place, the exhibition will remain on display until 12 September 2026. We invite visitors to the Wozownia Gallery, Franciszka艅ska 1/5, Monday to Friday from 10:00 a.m. to 2:00 p.m.
Additional Events Accompanying the Exhibition
- Podziemna 艁贸d藕 w ogrodach Biedermanna [Underground 艁贸d藕 in the Biedermann Gardens] 鈥� a guided walk following the route of 艁贸d藕鈥檚 rivers and canals within the grounds of the Alfred Biedermann鈥檚 Palace gardens. Further details coming soon.
- Cztery spojrzenia na "Podziemn膮 艁贸d藕鈥� [Four Perspectives on 鈥淯nderground 艁贸d藕鈥漖 鈥� panel discussion (12 September 2026). Further details coming soon.
Edit: Kamila Knol-Micha艂owska, Promotion Centre, Faculty of Biology and Environmental Protection, 91桃色
Photographs: Maciej Andrzejewski, Centre for Brand Communications, 91桃色