Neither Here Nor There,
But Altogether Elsewhere
(05.2019)
(FILM AND ANIMATION, EXHIBITION)
Situated yet unsettled, the play of language enables us to mediate distances, to make sense of our frames while seeking other ways of being with and for. Through dialogical processes of meaning-making, these works attempt to reroute and reorient so that we may learn to see each other -- and to see ourselves.
Sites of the everyday and of dominant and popular culture are discursive spaces where hegemony and power relations are consented, contested, and possibly transgressed. Emerging from this semiotic dispositif, our forms and languages render possible different ways of seeing, listening, reading, and thus, different ways of relating, acting, and responding. They formulate specific possibilities of response.
Language and meaning, like the institutions we inhabit and that inhabit us, are grounded in personal, embodied knowledges and unevenly desedimented histories. Things are certain, yet simultaneously unsettled and in constant negotiation. These works foreground this negotiation, inviting encounters between here and there in the distance and brokenness of our language. And as we are always and already in a performative, discursive play which can reveal and reroute how we make sense -- if we find ways to listen carefully -- we might briefly glimpse elsewhere altogether.
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POETICS OF INFORMATION
(05.2019)
(FILM AND ANIMATION, EXHIBITION)
Attempting to be objective, rational, sometimes invisible, these interfaces frame how one encounters stories of others far away and nearby, directing a particular gaze which story events, affecting our capacity for sense-making and interpretation. How can we become aware of our frames, acknowledge how they border and limit, and further negotiate and insist on other ways of knowing and being with?
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COMMUNAL VIOLENCE: CONSCIOUSNESS OF ERROR
(03.2019)
(GRAPHIC DESIGN, ILLUSTRATION)
A threshold marking a moment of passage, of transgression. A movement from one world to another. A movement from fire to water. Fire creates smoke signals, signs that billow outward from self-immolation and other actual and symbolic acts of defiance in the face of extreme violence and oppression, resistance in refusal, to make conscious in being consumed. Water flows, crashes, is both gentle and powerful. It nourishes and carries life and is the very wellspring of the communal.
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The Mixtape Shop
(06.2016)
(ILLUSTRATION)
Genre header artwork for
The Mixtape Shop website
1129 Bedford Ave, Brooklyn /
themixtapeshop.com
Fa Kwong Temple Mantra Leaflet
(08.2015)
(GRAPHIC DESIGN)
WAKE UP!, Cards No 3 & 4
(10.2017)
(Publication, Graphic Design, Illustration)
4.25x11in, Risograph printed in Stockholm
Free to take, left in various locations.
PURE OPTIONS
(07.2018)
(GRAPHIC DESIGN)
Cannabis Collective in Lansing, Michigan USA
PERCH
(07.2016)
(GRAPHIC DESIGN)
Situations like these make me think about the limited capacities of the various roles we assume to negotiate the practices of the actual thing. How can I, despite the roles I assume, have been paid for, or in service of, participate in such a way that insists on a certain sense of accountability and responsibility? And what delimits this responsibility...to which people, to which beings and non-beings, to which processes of meaning-making?
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The Pulse 2018 C.E. Gregorian
(04.2017)
(PUBLICATION, GRAPHIC DESIGN, ILLUSTRATION)
As we look at the universe in awe, our awareness is broadened by its indescribable vastness — the immense cultural and biological diversity, our ever-curious everyday philosophical questioning, each step taking us beyond the defined into the hazy edges of the unknown. What is it that places us in time?
All that we are arises as thoughts and actions, events and happenings, reproduction and decompositions, beginnings and endings, being and nothing. Moving in all directions our experience of time is a continuous awakening, a perpetually changing sameness, an ebb and flow of what is immediately relative and profoundly universal.
This is The Pulse, it permeates everything, and its journey mesmerizes all.
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10.375x14.375in, 57 pgs, Edition of 50
Risograph printed by
Colour Code
TOWARD A RESPONSIBILITY OF AESTHETIC DISTANCE: Thoughts on Visual Communication * Communication is the very fabric of relation. It is an atmosphere of sensing and responding — endlessly conferring. Through this, we’re able to access something: a friend, a home, a feeling, our surroundings, ourselves. It is embodied sense-making. For us humans, it is language in its most plural form. ** Visual communication, which involves graphic design along with the multitude of visual traditions and varying forms of writing and mark making, is attentive to how visual forms mediate sense. It looks at how visual forms and their practices as mediums and platforms render possible/impossible specific ways of knowing. Attempting to navigate this requires us to look closely at the contexts which frame particular visual forms (from the past, from the future, in the present). Aesthetics becomes a matter of ethics. It matters what histories we surface, who we suggest listening to and through what forms, how this is done, who with, and who for. *** In my practice, I see visual communication as sense-making tools. Its traditions are situated and entangled, so it becomes necessary to confer with other ways of knowing across the already polycultural and multi-disciplined. This is to say that our work begins and ends in study; I believe this to be the responsibility of our discursive acts. In my work, I must recognize my position in relation, navigate commitments, and surface the visual negotiation of different perspectives, ways of knowing, and ways of relating. This is where I hope to contribute: the slow, tedious, and necessarily collective efforts of remaking and reorienting sense. ****
TOWARD A RESPONSIBILITY OF AESTHETIC DISTANCE: Thoughts on Visual Communication * Communication is the very fabric of relation. It is an atmosphere of sensing and responding — endlessly conferring. Through this, we’re able to access something: a friend, a home, a feeling, our surroundings, ourselves. It is embodied sense-making. For us humans, it is language in its most plural form. ** Visual communication, which involves graphic design along with the multitude of visual traditions and varying forms of writing and mark making, is attentive to how visual forms mediate sense. It looks at how visual forms and their practices as mediums and platforms render possible/impossible specific ways of knowing. Attempting to navigate this requires us to look closely at the contexts which frame particular visual forms (from the past, from the future, in the present). Aesthetics becomes a matter of ethics. It matters what histories we surface, who we suggest listening to and through what forms, how this is done, who with, and who for. *** In my practice, I see visual communication as sense-making tools. Its traditions are situated and entangled, so it becomes necessary to confer with other ways of knowing across the already polycultural and multi-disciplined. This is to say that our work begins and ends in study; I believe this to be the responsibility of our discursive acts. In my work, I must recognize my position in relation, navigate commitments, and surface the visual negotiation of different perspectives, ways of knowing, and ways of relating. This is where I hope to contribute: the slow, tedious, and necessarily collective efforts of remaking and reorienting sense. ****
