A playful approach to detach from the present, stifling status quo, and to get the mind meandering. Meandering away. To get it floating. Wherever desired.

A playful approach to detach from the present, stifling status quo, and to get the mind meandering. Meandering away. To get it floating. Wherever desired.

Queries that question the unforeseeable and explore the mysterious. Centered by humor, the being on the left blazes the world with color and laughter. It throws its body around in convulsive fits, brain alight with activity. The being on the right emulates and begins to stir the Humouristic.

Who is afraid of cyan (C), magenta (M), yellow (Y) and black (K)? In terms of cultural history as well as experimental offset printing, we believe it’s worth exploring colours. Under the auspices of the rainbow – as a quite positive symbol of diversity and hope – we printed on 23 differently coloured papers. These offset prints are intended as a color impression to develop your own print product. To work as resource-conscious as possible we used mostly leftover papers and printing inks. All collected money goes to BBZ Lebensart e.V., which is committed to the recognition and acceptance of gender and sexual diversity as well as different ways of life and family forms.

In 2018 I created a video for the Paris Pompidou Museum for their webseries “mon œil” about Sonia Delaunay’s work and especially the colour painting movement she created with her husband Robert Delaunay called orphic cubism. This movement focuses on the contrasts of colours to create harmonies and an impression of movement in the painting. In addition to this video I created a typeface in echo with Sonia’s work. It is a titling typeface with simple geometrical and modular forms that can form words as well as patterns. One colour is one part of the letter, and the four colours combined together give you the whole letter. With this typeface, I question the meaning of a form as a letter.

The term “bleed” as used here as a double entendre between blending seamlessly and bleeding due to struggle, the two routes in colour and life.

Looked at closely, we are all the faces of the world.
Just turn your eyes, a bit of shadow or light and we change color. Perhaps it is the concept of addition that diverts our gaze, that leaves us on the surface. Below, another skin, and below another again.

See poster

See poster

The LP title »FASHION« from the band The Vintage Cinema Club was visualised through abstract collages. Humphrey Bogart got anonymised by bright and colourfull textures. The dancing silhouette of Elvis was flipped over so it would look like a man, falling from the sky. This way, the darker side of success and fashion got embraced.

The one-day limited outdoor lifestyle market held by UND, a newspaper published in Taiwan. The publisher wants to approach the young generation, therefore I create a valorous visual which is too overwhelming and nonsense to the clients when I present the work on the first day. It takes at least two weeks for them to absorb the design concept and pass the mutual agreement.

The concept of Taiwan Design EXPO is approaching the public and embracing everyone to join the local community. The main visual design aims to incorporate the four elements, “wind,” “WIFI,” “bamboo,” and “the Internet,” which are symbolized and unitized, and flexibly combined to form various visual extensions. For “wind,” the imagery of “spinning wind” is used to strengthen the symbolism; combined with a sense of motion, wind transforms into Hsinchu Monsters to guide people on their paths of pursuit and exploration.

Windows display transitory fragments, bridging the inside with the outside, ephemera with the enduring, and intentional with accidental. They provide alternate realities where fantasy and design intersect. When documented, they make public a fleeting moment of chaos. This spectacle, a textural essay, resonates in media res—directly into, while proceeding from—a voluble field.

I started sketching some random monster and it ended up being a very lovely friendly and funny sketch. Then I thought it might be nice to be friends with him, and that’s how all started. Why can’t our sketches become alive? I’d love to hear their voice, touch and interact with them, even if they get crazy. I’ve used two different fonts, both of them are sans serfi. I’ve played with contrast using a high saturated Klein blue. My intention is to create an interesting and attractive Poster so people would come to my crazy sketches Event.

My universe revolves around the combination of plastic researches and typographic editing work. In parallel I design images as sculptures, through a technic of image production : I scan objects, that I recomposed numerically. I present this images in lightboxes as in my solo show at playground gallery in Paris in 2019.

Can we use test charts in printmaking to remind ourselves about the visibility of human values in graphic design?