My contribution to the Mut zur Wut 2025 competition. The whole phrase & composition is aiming to support those who protest until the good times come.

The poster is designed by invitation for the “Home” first international poster biennial in Suzhou, China

The poster is designed for the Bursa Uludağ University 50th anniversary (1975–2025) and related exhibition held in Bursa, Türkiye.

The poster “Oripeau, Oripeau, Pripeau” was designed out of love and in support of the “Oripeau” project and put on display in Montréal at the end of November 2025. The shape was made of paper and scissors.

Experimenting is a way of allowing yourself to start again.

The idea behind this work is to see how simple shapes convert into a typeface. A small set of modular forms is used as building blocks, coming together to create letters in a playful yet systematic way. The project explores how repetition, rhythm, and small variations can transform basic geometry into a cohesive and expressive type system.

These typographic experiments investigate form and distortion though grids, spatial structures, and three-dimensional systems.
Set within generous white space, the works allow type to shift between signal, interference, and abstraction.

The A sculpture is a free typographic project that combines sculptural design with light painting photography and led to the final result of a colored longtime-exposure . The abstract letter A is made of styrofoam which are originally inspired by leftover segments from a stencil (cutouts) which I adapted from a painting of Victor Vasarely. The 1,5m high sculptures´ setup was a complete dark studio, only lit by a handheld RGB LED light and I was manually changing the color during the capturing.

In my work, I draw on systemic visions of the future, futuristic technologies, and space exploration. I propose alphabetic characters that have become structures—parts of a spaceship’s infrastructure or machine modules. “To boldly go where no one has gone before”

My illustrations are inspired by a long-standing fascination with cyberpunk aesthetics and various science fiction narratives.

In my work, I draw on systemic visions of the future, futuristic technologies, and space exploration. I propose alphabetic characters that have become structures—parts of a spaceship’s infrastructure or machine modules.

Help Others Understand Dyslexia uses typography as a tool for empathy. By intentionally breaking the traditional rules of legibility, I aim to disrupt the reading experience in a way that mirrors the frustrations many dyslexic people face. Through this experimental typeface (Flux), which distorts and manipulates letterforms, I hope to spark conversation and build greater awareness around dyslexia and challenge conventional design.

Conceptual poster developed for the stage production Bacchae, shown at at Olivier Theatre in London

Conceptual poster developed for the stage production Scorched Earth, shown at St. Ann’s Warehouse in Brooklyn

Conceptual poster developed for the stage production Man and Boy, shown at at Dorfman Theatre in London

Conceptual poster developed for a theatrical production Hamstrung, shown at at Pleasance Theatre in London

Remembering Veronika is a tribute to our late friend, visual artist Veronika Bažaliková (*1978 — †2023). It recalls friendships formed during summer art symposia in eastern Slovakia. The typeface used, Anonym, originated in this shared context. Created by digitising anonymous scratched inscriptions found on the walls of an old mill in the village of Košarovce during the OpenSpace symposium in 2014, it bears raw traces of presence, absence, and memory.

Typography exploration based on a modular grid of cubes. Pushing between structure and movement, transforming letterforms into sculptural compositions.

Conceptual poster for a theatrical production Metamorphoses staged at at La MaMa ETC in New York

Conceptual poster for a theatrical production Now Here staged at Traverse Theatre in Edinburgh

Experimental visual poster for the theatrical performance Natalie Palamides: Weer, presented at Traverse Theatre in London

The custom typeface “Real” is an expressive display font and, as a variable font for a selection of characters, can be adapted to a wide variety of end formats. As a monospaced font with around 180 letters and accents, numbers, and punctuation marks, it allows for concise visual presentations. Heavy, physical forms with deep white spaces and changing contrast points create a sense of movement and depth, light and shadow, refraction and distortion.

websites and tools ive used:
https://www.tooooools..app
https://effect.app
photoshop, indesign,, illustrator, procreate