THE CHRONIC WANDERING
OF DUST
project type - Site-Specific Video Installation
year - 2022
year - 2022
‘The Chronic Wandering of Dust’ was my contribution to Holding Pattern; Sandberg Instituut’s Studio for Immediate Spaces 2022 graduation show at De Oude Rechtbank, the former courthouse in Amsterdam. This project delved into the moral narratives of dust and the mechanisms for its control. By physically interacting with cloths laden with dust extracted from the shelves of the IHLIA Heritage —the largest LGBTQIA+ archive in Europe— visitors were invited to partake in the everlasting circularity of dust. The piece was a nostalgic activation of dust, an undesirable agent that manifests itself as an uncanny physical index of history when displaced from one place to another, while having the ability of unsettling regimes of order, permanence, and control. The compulsive task of dusting served as a metaphor for the dynamics between repression and desire. Dust, like desire, cannot be swept under the rug. It is simply moved, not removed.
Featured in The Salmon of Knowledge,
Our Polite Society.
Featured in The Salmon of Knowledge,
Our Polite Society.
DELEITERÍA
BILBAO & BUENOS AIRESproject type - Visual Identity Preview
year - 2023
year - 2023
WIP
WIP
WIP
YOUR DIRT, MY TREASURE
YOUR DISGUST, MY JOY
project type - Site-Specific Installation
year - 2022
year - 2022
This uncanny installation was devised by producing a set of critical applications, tools and situations for queer spatial agency by appropriating space through the dispersion of human saliva. These sculptural gestures — dispersed bodily fluid in mist and the embedded screen displaying magnifying saliva — can be seen as exercises in scale that exemplify the tension between bodily fluids in relation to manufactured devices, aerial circulation in space, and defamiliarization through magnification. By using consumerism’s language combined with scientific, or rather pseudo-scientific visualisations, a tactical intervention was made, relating to a broader modern scientific and medical discourse on hygiene, which historically engendered spatial segregation, and continues to do so. An intimate, yet thought-provoking spatial proposition where desire, ambivalence and transgression could be seen as gestures associated to “queer-scapes” and appropriation through forms of apparent pollution.
CAPTURE DISPLAY
project type - Editorial, Visual Identity, Exhibition
year - 2021
year - 2021
Sandberg Instituut’s Studio for Immediate Spaces spent a week in close contact with the collection and the spaces of Het Nieuwe Instituut. Working collaboratively, the participants identified key documents from the drawings, photographs and models belonging to the archives of Dutch architects and urban planners. They considered how things appear, how they are stored, who collected them and why they were kept and deposited. Finally, they mobilized the documents, giving thought and shape to what they wanted the documents to do differently. The result is an exhibition as a critical documentary, exposing modes of operating on the documents: copying, enlarging, folding, displacing, recontextualizing, deleting, editing, reclassifying, translating, hiding. Within self-imposed constraints, the production was kept to a bare minimum: two walls, one printer, one sound system, one tape roll. Four groups storyboarded strategies for a potentially cinematic space, articulated in four chapters, each linking back to a set of documents from the institute’s collection. Using the archive is not a neutral but a creative act with an aesthetic intention, an audience and a purpose. The exhibition is the means to select, present and create new adjacencies, allowing for new types of knowledge circulation.
FINALLY, THINGS ARE HAPPENING
project type - Visual identity, Editorial
year - 2021
year - 2021
With "FINALLY, THINGS ARE HAPPENING" Studio for Immediate Spaces (Sandberg Instituut) is proud to present works of its 2021 graduates. Through experimental and material research into the meanings and possibilities of coming together, sharing knowledge, caring for another—be it humans or nature—all works unite under the ambition to create or critically reflect on spaces to facilitate a new sociability. Through various media, ranging from film, performance to sculpture and environment, the works manifest as signs and symbols of a new normal that has changed the way of living together in recent months, creating novel perceptions of space, imagining alternative rituals and practices.
For the past months Reneenee/Maison Descartes and Kristoffer Zeiner gave refuge to the Studio for Immediate Space in times of harsh social regulations. For FINALLY, THINGS ARE HAPPENING Reneenee/Maison Descartes will once again host the Studio to showcase the results of its graduates’ works, which to a large part were conceived and fostered in this magical place.
Featured in Slanted Magazine 40 Experimental Type.
For the past months Reneenee/Maison Descartes and Kristoffer Zeiner gave refuge to the Studio for Immediate Space in times of harsh social regulations. For FINALLY, THINGS ARE HAPPENING Reneenee/Maison Descartes will once again host the Studio to showcase the results of its graduates’ works, which to a large part were conceived and fostered in this magical place.
Featured in Slanted Magazine 40 Experimental Type.
ON PIGGYBACKING, CARS
AND SQUARE TREES
project type - Site-Specific Video Installation / Film Stills
year - 2021
year - 2021
On Piggybacking, Cars and Square Trees is a site-specific installation that explores from a queer gaze the multiple ways in which generic architectural sites, i.e. the carwash, and technologies of movement, i.e. the car, play a role in contributing, sustaining or sometimes subverting the reproduction of socio-cultural values and gender patterns. From a gender studies perspective, the ritualistic process of cleaning and maintaining a car can be seen as a political performance that could be considered a “feminisation of masculinity”, opening a door to a new critical model of masculinity – a so-called ‘caring masculinity’ – which contributes to equalising gender roles and embraces the affective, relational, emotional and interdependent qualities of care.
SEWING MAGIC BUTTONS
project type - Digital Performance
year - 2023
In ancient times, buttons were given special importance. If today for us it is nothing more than a functional element of clothing, for our ancestors buttons were a protective amulet.
The essence of the button sewing ritual is to guide the needle through the process with the desired intention. The button with four holes can be attached with different stitches... The direction of its energy depends on what drawing will result on it. We must not forget that in the magical art of sewing buttons, literally all nuances matter: size, color, shape of buttons, their number and location, as well as the color of the threads and the shape of the stitches that hold the button on the fabric. With the perfect combination you will do magic in a simple and imperceptible way to Muggle eyes.
Not all buttons have the necessary powers, but only the "4-hole" ones. It is also important to take advantage of their magical properties the material they are made of, natural ones such as wood, ivory or natural mother-of-pearl are preferred.
*Click on the buttons
BRAND ARCHETYPES
project type - Visual identity, Editorial
year - 2023
Want to make your brand connect to people? Brand archetypes are a way to find focus and clarity in your brand positioning. It is based upon the theory that there are universal archetypical patterns underlying all human communication.
Carl Jung translated the theory into 12 archetypes. In 2001 Carol S. Pearson (in her book The Hero and the Outlaw) used these archetypes and turned them into brand archetypes. Based on this theory, I developed this body of work for Morrow.
Carl Jung translated the theory into 12 archetypes. In 2001 Carol S. Pearson (in her book The Hero and the Outlaw) used these archetypes and turned them into brand archetypes. Based on this theory, I developed this body of work for Morrow.
MADE IN SPAIN
project type - Visual identity, Website
year - 2019
year - 2019
Made in Spain is a multi-disciplinary platform aimed at enhancing the culture of contemporary design and avant-garde craftsmanship in Spain. Its goal is to celebrate and nurture products made by the greatest artisans and designers with international appeal. The identity was created using a simple system of straight lines and colourful dots. The rigid lines serve as a way to express the precision and expertise of Spanish artisans. The dots represent the liveliness of Spanish culture, inspired by the traditional polka dot dresses of Flamenco dancers. Red symbolises passion, while ochre stands for warmth. Univers was chosen because of its versatility and the way its different weights work together harmoniously.
CHÂTEAU MARGAUX
project type - Visual identity, Packaging
year - 2020
year - 2020
Château Margaux is family-run vineyard in the Bordeaux region of France, whose wines are known for their fruity flavours. The identity was inspired by the work of French artist Daniel Buren, consisting of regular, contrasting-coloured stripes. A custom coding system was developed where different colours correspond to a different appellation level for each wine. As a way to grab the consumer’s attention, the text on the label is intentionally small, prioritising the coloured stripes, inviting individuals to get a closer look and stand out amongst other wines.
COLUMBIA ROAD MARKET
project type - Visual Identity
year - 2018
year - 2018
Created the corporate identity for Columbia Road Market - a market composed of sixty independent shops, galleries, and its famous flower market on Sundays. The identity was based around the circular shape created by insects when eating leaves. This playful approach became the defining characteristic of the identity, which was translated into a customised typography and brand elements. The colour palette was chosen with the idea of reinforcing human beings’ connection with nature. The clean features of the identity serve to provide a moment of calm - a welcome escape from hectic urban life.
SEFARAD
project type - Packaging, Illustration
year - 2023
year - 2023
Commissioned to design a kosher Spanish wine label, to be sold in Israel. Sefarad is the Hebrew word for Spain, and the butterflies featured in the design represent the diaspora of the Jewish people. The butterflies were created by desintegrating and choosing elements from Dick Bruna’s illustrations found on his personal website – the globally acclaimed illustrator and father of ‘Miffy’, the most famous bunny in the world. These replica images allowed me to create a digital collage, and this combined with Eastman Condensed led to a unique work, which doesn’t follow traditional wine label conventions.
MAURITSHUIS
project type - Visual identity, Editorial, Website
year - 2020
year - 2020
The Mauritshuis is a museum located in The Hague, home to various Golden Age masterpieces. The graphic identity was inspired by the monogram created by UNA Designers in 1980. The idea of integrating the letter ‘M’ and the silhouette of the museum’s emblematic façade, was the origin of its development. Helvetica was chosen as a way of reducing the sense of stateliness associated with these kinds of institutions, injecting a dose of youthfulness and modernity instead. The colour palette is characteristic of the Netherlands’ iconic Delft’s Blauw porcelain. All in all, the proposed identity provides an invigoration of a much-respected institution – a way to recognize the museum’s history, while also attracting a 21st century audience.
COURTYARD CONCERTS
project type - Visual identity, Website
year - 2021
year - 2021
Courtyard Concerts was an initiative created by a group of talented musicians during the pandemic, where they would travel around the city and host concerts in public courtyards, terraces or gardens, as an alternative way of gathering during the Covid pandemic. The chosen typography as well as the lay-out of the poster are inspired by traditional concert posters, which you can find anywhere in the city. Despite its traditional layout, by using a bold pattern and a vibrant colour, the aim was to grab the attention of passers-by. The oval’s uneven shape symbolises the idea of people getting together in an unconventional way such as a courtyard. The colour orange was chosen for being the dominant colour in the characteristic brick
walls around the city of Amsterdam.
walls around the city of Amsterdam.
VEGETATION UNDER POWER
project type - Editorial, Visual Identity, Exhibition
photos - © Thomas Meyer
year - 2021
photos - © Thomas Meyer
year - 2021
Following the Bauhaus Dessau corporate design guidelines, graphic elements were designed for Vegetation under Power exhibition.The Kreismuseum Bitterfeld, Bitterfeld’s county museum, contains a black box with herbaria dating from 1931. This collection, compiled by botanist Hans Weber, is an inventory of the flora gathered in the nearby Goitzsche region, a forested area of floodplains. Taking the herbaria as its starting point, Vegetation under Power interweaves stories about Bitterfeld’s energy-defined landscape with the modern legacy of the Bauhaus. The exhibition presents a landscape formed by 11 constellations: Poetics/Politics, Evidences, Sediments, Traces, Socialities, Recordings, Imprints, Extractions, Un/rootings, Stewardships, and Annotations, linking the plant collection to public debates on forest dieback, nature conservation, air pollution and growing environmental awareness, highlighting the relationship between ecology and economy. Using archival documents, interventions and field studies, the transformation of nature is related to the history of the Bauhaus.
The dynamic interplay of these facts gives rise to questions about how we care for and preserve landscapes that are seemingly irretrievably lost. What does it mean to care for post-industrial landscapes? And how can we push for the renaturation of our environment today?
