studied composition with Zygmunt Krauze at the Bacewicz University of Music in Łódź as well as with Mark Andre and Manos Tsangaris at the High School of Music in Dresden and with Yannis Kyriakides at the Royal Conservatoire in The Hague. He also attended numerous masterclasses. His works revolve around the question of touch as a source of sound, a way of its perception, the vehicle of the performer–instrument relation, and a medium of social communication. By using performance tools, multimedia, and tactile references, Krzewiński proposes new forms of contact with music and with corporality. 

In 2018 the web portal Culture.pl hailed him as one of the ten most promising composers of the young generation in Poland. His works have been commissioned and performed by ensembles such as Musikfabrik, Garage, Kompopolex, NEMØ, Ensemble Royal, the Kwiatkowska/Pałosz duo, and others. His compositions and installations have been presented at festivals in Poland, Belgium, the Netherlands, Germany, Portugal, and China. Recipient of the Saxon Government’s award Förderpreis für Junge Komponisten 2019, Krzewiński been an artist-in-residence at the Binaural Nodar SOCCOS Residency in Vouzela (2016), LABO in Antwerp (2017), and PointX with NEMØ Ensemble in Ghent (2018). In 2019 Bôłt Records released the DVD Incorporate, featuring his chamber music. 

With audiovisual artist Aleksandra Chciuk, he has notably created the concert/installation Black of Granule for two performers, piano and one listener, presented at the Musica Privata in Łódź (2016) and the Instalakcje festival in Warsaw (2018), as well as the audio performance Weave-Machine commissioned for the opening of the International Triennial of Tapestry at the Central Museum of Textiles in Łódź. Krzewiński has also created a series of objects known as Ameublement de musique, presented so far as an installation and in concerts in Poland, Belgium, the Netherlands, and Germany, including a piece commissioned by Ensemble Musikfabrik. 

Selected works: Glass Wood Plastic for violin and marimba (2015), I | 0 for six singers, viola and cello (2015), Mille-feuille for dancer and electronics (2015), Contre no. 1 for violin and cello (2016), Black of Granule, installation/concert (with Aleksandra Chciuk, 2016), Edging for flute, clarinet, trombone, percussion, violin, cello, double bass and seven dancers (2016), Another Air for flute, accordion, percussion, electronics and 20 fans (2017), Inside for Musikfabrik with Harry Partch instruments and ameublement de musique sound objects (2018), Entre for bass clarinet, percussion, e-piano, violin, double bass and media (2018), Incorporate for violin, electronics and video (with Aleksandra Chciuk, 2018), Ep for double bass and deaf poet (2018), Weave-Machine, audio performance (with Aleksandra Chciuk, 2019), AdM Room, installation-like piece for two marimbas and ameublement de musique sound objects (2019), Contre no. 2 for piano, percussion and electronics (2019), Modern Romance for ensemble (2020), Urschrei / Primal Scream for ensemble (2020), Chopinwalk & Chopinvortex, sonic walk (with Aleksandra Chciuk, 2020), Incorporate no. 3 for ensemble (2021), Phantom for accordion, viola and media (2021), Still Point, installation (with Karol Tymiński) (2021), Dance ex machina for piano and dancer (2022), Etude for Grand piano and Touch (2022), String Quartet no. 1 (2022), Dance ex machina for piano and dancer (2022).