My practice revolves around language and play. I enjoy the tensions that are created by treating humorous concepts with total sincerity—I don’t feel that an object needs to be taken seriously in order to be beautiful, but I do think that the object should take itself seriously to some extent. My degree show project aims to explore this idea by playing with cartoon tropes of espionage to examine the camp cultural view of spies, and how that translates to the real world.
Language is integral to my work; for me, a project isn’t complete unless the copy holds up with the visuals. I often come up with the words at the same time as the design, which massively informs the design process. My largest project this year has been a collaboration with Callum Kershaw. What started as an exploration into following rules set by artificial intelligence has devolved into an examination of the client/designer relationship, and what place performance has in design. The narrative we created for the project has had a huge influence over our design choices.
Language is integral to my work; for me, a project isn’t complete unless the copy holds up with the visuals. I often come up with the words at the same time as the design, which massively informs the design process. My largest project this year has been a collaboration with Callum Kershaw. What started as an exploration into following rules set by artificial intelligence has devolved into an examination of the client/designer relationship, and what place performance has in design. The narrative we created for the project has had a huge influence over our design choices.
