An ethereal metal steampunk fish and a rusting steamboat-influenced factory structure suspended above an alien world are just two examples of Polish artist Adam Tredowski's texture-rich approaches to science fiction. The somewhat mysterious 33-year-old currently lives in England and has won many online awards for his work. There’s a satisfyingly organic feel to Tredowski’s work, but you can also see the nuts and bolts, the wear and tear. Metal fatigue welded to something beautiful, often awe-inspiring. But we’ll let Tredowski’s gallery and his answers to our interview questions speak for themselves, below. Gallery: The Art Of Adam Tredowski What science fiction and science fiction artists have influenced your work? Ages ago I came across this fantasy magazine Fantastyka, in which they put continuously works of such artists as Jim Burns, Rodney Mathews, Zdzislaw Beksinski and Wojciech Siudmak. They made a huge impression. Even today I find them as the sort of example or pattern to follow, and one which I have not yet reached when it comes to the traditional painting technique. As far as the masters of digital painting are concerned, I’d have to mention Daniel Dociu, Sparth, Dusso, Craig Mulins, and James Paick. Do you see a divide between SF and F in your own work or is it all mixed together? I mix it all together. It is the composition that matters to me most as a whole and I try to stick to that. What’s your relationship to technology and the modern world? Are there elements you try to put into your work? I have to admit I’m not really a big enthusiast of all the new tech gizmos and news. I don’t really obsessively follow the progress as I don’t feel I have to have or be in the line with the newest technology. My PC, which got old a long time ago, would be the best example of that. It’s only the progress within the graphic design software that is of great interest to me, as I would really like to continuously develop my workshop. Describe your workspace. How has it changed over the years? I started with a pencil, oil paints, pastels, etc. It varied with the effects. I was missing the basics, as I learned as I went, and unfortunately I didn’t have anybody I could learn from. Additionally, when I started the Internet was only the means for the “chosen ones.” Then I got hold of a Commodore 64 and the Art Studio software. I got sucked in completely! Then there was the Amiga computer and the mind blowing “Deluxe Paint,” and then a very long break during which I didn’t have a PC. And so I came back to graphic design about three years ago. Today, my main tools are modelling software 3D and Photoshop CS2. What projects have been most personal to you, and what are you most proud of? I won’t be original saying this but I must say that all my works are very personal to me. The ones I like most are the ones which I did quite quickly—the ones about which I knew straight from the beginning what they were gonna look like. One of those is the project “Far from the city,” for example. And, finally, what are you currently working on? Currently, I [work with] the ZBrush 3.1software. In the future I’d like to put more “life” into my works, and ZBrush as a tool for adding character to modelling seems to be the perfect choice. What comes out of it? We’ll have to wait and see! In closing, we'd like to give a big thank you to Annalee and to Charlie in this last column for io9. They’ve been great to us, and we appreciate the opportunity. io9 is one of our favorite internet destinations.