These pieces were designed as visual commentary regarding the continued and pervasive state-sponsored violence against BIPOC people in the United States.

Largely informed by typography, my work often deconstructs letterforms with the intent to reconsider the relationship between message and viewer, encouraging a viewer to not simply read and consume a message but engage with the piece to seek out the message. I believe a message isn’t about reading, but about finding meaning. This abstracted approach presents the viewer with an opportunity to pause and reflect on the piece while considering their own relationship to the meaning through a more visual language.

Largely informed by typography, my work often deconstructs letterforms with the intent to reconsider the relationship between message and viewer, encouraging a viewer to not simply read and consume a message but engage with the piece to seek out the message. I believe a message isn’t about reading, but about finding meaning. This abstracted approach presents the viewer with an opportunity to pause and reflect on the piece while considering their own relationship to the meaning through a more visual language.

Poster utilising my own experimental script font fshine.

Typographical installation at KASK, Gent. Made by applying two colours of round neon stickers in relation to each other on a wall. Inspired by dystopian sci-fi anime and linked to a publication telling the narrative of the “genetic peasant” through collages of different existing anime stills.

The personal manifesto wants to provocatively challenge censorship and social norms, claiming ownership of one’s body and consent to show it.
The typography plays with the body parts it interacts with, in a teasing conversation between censorship and the willingness to disrupt it.

Studio New Year’s greetings for a sweet 2022!

A font called Tools built from actual tools.

Krzaki is a micro gallery founded by Jacek Rudzki and Radek Sadlik. Every month we invite two local designer with different styles to create a poster specialy for our gallery.

Yumm… ASIT! dates back to my first attempts at illustration and merges the shape of a heart with the typographical silhouette of the name. The icon used to be my very first logo, and I would use it in every artwork I made.

This particular work is inspired by the hot Italian summer days I spent daydreaming about all the lovely ragazze I didn’t have a shot with. 😉

A typographic exploration of the word “selfish.”

“Crisis” is a Greek word that describes a critical situation and the process of evaluating. “Critique,” “criticize,” “critic,” and “critical,” all derive from the same root. This project is a retrospective of the word “crisis,” documenting its various shifts in meaning throughout history. Large posters (5×8 ft) were cut and folded to form a 156-page, unbound book. In its own unstable state, the book communicates that a crisis may have several perspectives that require acknowledging, engaging, and accepting it as a temporary situation that will bring about the new and unfamiliar. “The crisis consists precisely in the fact that the old is dying and the new cannot be born.”

logo and dingbat font called “ana”.

I had the chance to design this shirt for the german band KYTES. I was super thrilled when Tim, the drummer of the band contacted me and told me about his idea for a shirt design that should be part of their new merch-collection. The lettering is inspired by my original handwriting, which I painted with watercolours and digitilized afterwards to get it printed on the shirt.

The proces begins on a typewriter made in ex Yugoslavia, called Biser 35, that uses a Courier M font. The repetiton of number 9, with one line spacing, resulted with overlapping, creating a pattern in which the number became unrecognizable as a part of the abstract form.
The second stage was to scan the pattern with the photocopier machine, with a unintentional move in the upper part of the display, which streched the scanned form and gave a another experimental touch, creating noise and interference both inside the lines and out, making the apperance more distant from the look that it had on the begining of the proces. The proces is completely experimental, unpredictable and fun.

In a dream, we lost our voices.
Our body deteriorated, and soul vanished.

To write each card by hand would be a lot of work and also be missing a new technology. It should rather be written by a machine. Is that possible? Without further ado, a pen was attached to the 3D printer and off it went. No, it was nowhere near being that easy. Still – this way was more beautiful, more idiosyncratic and somehow special. Besides, it was new, never seen before. And the interest was too big: how will it work? It was amusing, had a rhythm, made a melody – for hours. It became a catchy tune. The pen had to constantly be put back in place. Every word was critical. It became illegible, it dabbed, it scratched, it smeared – each card was unique.

Symboink is a series of books archives imaginations derived from common objects. With a set of font ‘Linkers’, 3 books with each worldwide symbols (Celestial tree / Water and Fire / Door and key) convey the intuitive connection between global beliefs.

You are born to survive through worries, depression and distress, gambling between the happiness of living to the fullest and the disaster of never making it.
In the end, you tried very hard to climb the mountain of satisfaction but you are just another failure.

This experimental font was created with pulling lemonade over the glass plate of a scanner. One letter at a time, the challenge was to be fast enough to capture the character shapes before the sugary liquid return back to a rounded form.