ℒIVING WITH IMAGES

COMPANION READERS

(05.2019)

(GRAPHIC DESIGN, PUBLICATIONS)

These readers are a self-organized, informal platform for study. Each reader brings together a small collection of texts framed by a letter on reading followed by a titlean interpretive thematic introduction.

(further elaboration)

Somehow, as I read and think, I can't help but feel that this solitary act is one that inherently seeks to be with others. As I read, the voices of others are present. I read among their traces; we form a room in distance, one that invites reflection in response. Despite our together and with, I feel an inevitable distance between us. even if we had our entire lives to recount our experiences together, there is something in what it means to be me that you cannot see, there is something in what it means to be you that I cannot touch. Yet, still, we continue voicing, imparting ways of seeing, feeling, and knowing such that, despite there being these inescapable distances, we can make temporary refuge in our being with.

A4, 210x279mm perfect bound, 4 issues (ongoing), 50–78pgs B/W

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.

BROWN ISLAND HANDBOOK

(02.2019)

(PUBLICATIONS, GRAPHIC DESIGN, ILLUSTRATION)

Brown Island in the White Sea, A Handbook for a Collective Practice is a book that makes visible the organizing efforts, voices, presence, and discursive acts of the Brown Island collective initiated at Konstfack. It is a trace left to disrupt the silence of Vita Havet.

(further elaboration)

Dear reader,

The handbook you are now holding in your hands was produced by Brown Island through the summer and autumn of 2018 as an attempt to make visible some of the recent organizing activity, dialogue, and thinking from POC (people of colour) voices within Konstfack. It aims to be a resource, a reference point, an articulation of collective thought situated in its specific moment in time. Thus, this is not a complete object or history, but only a partial record of some among the many voices that have taken up residence within these walls, a small fragment of a larger collaborative, organizing effort that is always in-progress.

We hope this book will provide entry points. We hope it will linger and leak, leaving small traces of our attempts at beginning, at reorientation, at making our way to each other despite the silencing waves of the white sea.

With love and care,
BROWN ISLAND

Written and designed with the Brown Island Collective.
A5, 148x210mm perfect bound, 132pgs B/W

WAKE UP!, NO.1

(04.2018)

(PUBLICATIONS, GRAPHIC DESIGN, ILLUSTRATION)

Available at Irregular Rhythm Assylum (Tokyo) and The Mixtape Shop (Brooklyn)
A4 (210x279mm), Risograph printed in Stockholm, 12pgs saddle stitched, 4 color, Edition of 80

Wake Up!, Cards No 1 & 2

(04.2017)

(PUBLICATION)

4.25x11in, Risograph printed in New York
Free to take, left in various locations.

The Pulse 2018 C.E. Gregorian

(04.2017)

(PUBLICATION, GRAPHIC DESIGN, ILLUSTRATION)

This is the eighth year of the second decade of the first century of the second millennium of the Common Era.

(further elaboration)

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.

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. ****