Ornaments have been vilified ever since the birth of Modernism. The main reason for their dismissal was their inefficiency in material, time, and labor. But things have changed, especially in digital space. Now it is easier than ever to create forms with the finest details. The duplicitous nature of the Internet allows the ornaments to be easily accessible to everyone. Ornaments are no-longer for the elites. Ornaments are the tactility we craved and the freedom that we missed. Its irrationality is what signals the human existence and its unrestrained expression is what records the history.
Semester-long formal studies lead by Katheleen and Christopher Sleboda.
#art is an app that lets you tag art pieces that you have seen. Using specific location awareness technologies such as iBeacon, #art determines the art that users have viewed and queue them on the screen. The users can tag their experiences onto the piece that they have just viewed. The tags for the art pieces become the mass database for the human experiences towards each art pieces, letting users to search art pieces through emotions and observations rather than physical facts.
Recently, branding logos, advertisements, pop music videos, and electronics are readily being used in art and design. This is due to the influence of accelerationist artists. Accelerationism is a nihilistic view towards the efforts to defeat capitalism. Rather than battling against capitalism, accelerationists embed themselves into it. Accelerationists are aware of the self-destructive tendency of capitalism and try to accelerate the process. Thus accelerationist artists often portray the apocalyptic visions filled with ironic use of popular culture.
Because of its distinctive style and its obvious connection to the internet, accelerationist art has been widely, especially towards younger artist and designers. Yet, often the style of such art is being appropriated while the contexts and the purposes are lost. This book investigates the reason for the phenomenon. Why does the “look” of the art attract so many artists and designers? Through several essays from Immanuel Kant to Carl Wilson, this book delves into the reason and the value of accelerationist aesthetics.
Reskue is a legible text typeface with pleasant surprises. The marriage between rigidity and fluidity provides tamed rhythm just like a stroll through a grove of olive trees. The ample counters and elongated terminals enhance the legibility while providing excitingly placid reading experience. Reskue’s extended forms with piercing serifs are almost reminiscent of cold gin & tonic with elegantly sliced cucumbers.
A workshop brochure website for New York City based performance and media company. The website introduces two levels of reading, further enhancing the user engagement while providing ample information
Internship with LeClair Lucas Studio
For this project, I wanted to question the publishing system where only certain voices are being published while the others are lost. So I gathered unpublished works from anyone, designed and bound two copies each, and sent one to the author and the other to a library of the author’s choice. The book was designed according to a template that I designed. Especially the cover was designed according to a system in which generates enough diversity and formal interest.
The books are designed following this template: the title, the author and the Dewy Classification number are stated on the cover. The background color of the cover is created according to the Dewy Classification number (each number represents a rgb value). Each digit decides the number, the width, and the height of the rectagles respectively (circle for any 0).
I created a promotional website for this project. The design of the website follows the system in which the actual cover of the books are created. The shapes and the color on the background of the website is generated in real time, creating different forms and compositions every time the page is opened.
For this project, I created an instruction for creating an instruction for a two-dimensional formal study. This instruction was sent to the public and I gathered the instructions. The mean of presentation was a book.
1. Once Zhuang Zhou dreamed he was a butterfly, a fluttering butterfly. What fun he had, doing as he pleased! He did not know he was Zhou. Suddenly he woke up and found himself to be Zhou. He did not know whether Zhou had dreamed he was a butterfly or a butterfly had dreamed he was Zhou. Between Zhou and the butterfly there must be some distinction. This is what is meant by the transformation of things
- Zhuang Zhou
2. Gutai Art poster. The forms are generated by custom Processing application
3. Providence Poster
4. RISD Museum Poster
This is an emotional yet ideal space for your soul. This space materializes the longing for the security in the world of hyperconnectivity.
Unhemmed is the premiere fashion, music, arts and culture publication catering to stylistic and artistic students world wide. Based out of Brown University, the Magazine has been operating via its multimedia platform since September 2013.
For this first printed issue, I was assigned to totally redesign the entire magazine. Having the simple black line as the identity and the anchor throughout, Unhemmed pursues more contemporary and minimalistic look that can encompass lager diversity of Rhode Island and fashion community.
In collaboration with Lukas Eigler-Harding
Tranche is a serif typeface influenced by Garamond and Lydian.
This series of projects utilizes the “displacement map” process to create a landscape from various sources of images. The image-oriented book “Virtual Landscape” is created to explain the process with more immersive experience into the landscape. The main project “A Traveler’s Guide to Philosophers’ Heads” is a summery of significant philosopher’s thoughts from Stanford Encyclopedia of Philosophy juxtaposed with images of physical (virtual) landscape of philosophers’ heads created from the process. This project ultimately questions representation of objects, thoughts, and representation itself.