Nieuwe Vide, Final Play — Theatre beam, Computer — To the final Event ‘A play’ of ‘The Object Lag’ — a year long project at the Nieuwe Vide Gallery in Haarlem — I contributed with a performance based on my work ‘Like Russian Dolls’. During the play a theatre beam illuminated a corner in the gallery space and hence reproduced its light situation during the period of the entire ‘Object Lag’ in time-lapse.
Installation Kunstvlaai Amsterdam 2010 — Beamer, Computer, modified Keyboard — The installation was a presentation of my work ‘Like Russian Dolls’, developed during the ‘Object Lag’ at the ‘Nieuwe Vide’ Haarlem. Using the arrow keys of a modified keyboard, the public could swap through the observations I transcribed into a complex system of folders.
Like Russian Dolls —
based on the MacOSX Graphic User Interface —
The documentation of a corners continous change in the ‘Nieuwe Vide’, Haarlem during the collaborative project ‘The Object Lag’.
The documentations final form manifested in language, variably structured in the finder of a MacOSX.
Corporate Identity — Commissioned work —
Logo and package Design, commisioned by the distillery ‘Axel Hubach’.
Corners — Public reading — I compiled excerpts of Deleuze's ‘The Fold’ and Bachelard's ‘Poetics of Space’, concerning corners.
Datenschleuder Magazine — 148 x 105 mm, 64 pages, Laserprint —
In a collaboration, Stefan Nauert and me proposed a redesign for the ‘Datenschleuder’ — the club-magazine of the Chaos Computer Club, Germany. To keep the production costs low, our concept focussed on a ‘programed design’, which could be executed on each issue by anybody of the club, unfamiliar to visual design processes.
Core of our proposal was a software which ensured the intuitive illustration of articles with web-based image material.
Product — Part of ‘Mutation’ series, Clay — Reproduction of a mug, executed with the ‘Machine’-Clay-Cutter.
Raphael — Typeface, 62 Characters —
Based on the logotype of a liquor-brand, ‘Raphael’ is the design of an eponymous typeface.
Complex — Based on the MacOSX Graphic User Interface —
The work is quoting takes advantage of the MacOSX's capability to thread text, by linking and nesting folders into each other. As a result it allows to compile and fragment language in an elastic text-structure. The work reveals unexpected alignments of words and depicts the circular and infinite structure of language. Controlling device is a modified computer keyboard.
Manual of ‘Machine’ — Part of ‘Mutation’ series, Based on ‘Machine’-Clay-Cutter, 210 mm x 297 mm, 60 Pages, Analogue B/W Copies —
The booklet translates the concept of the Tetrahedron-cutting machine into a printed matter. To forge the machine-parts to new ones and hence to permute their mechanical function into a symbolic one, their image was reproduced with an analogue copy machine on A3, to be randomly compiled, folded and bound into booklets.
1 2 1 — 210 mm x 237 mm, 92 Pages, Laserprint, 22 different papers —
The attempt to translate the physical attributes of an object as well as their change over time into a graphic printed matter.
Format, volume, colour and tactility of the paper-medium, as well as the number of objects it displays, correspond to the attributes of the initial object — a can of PU-foam — and its content.
Machine — Part of ‘Mutation’-series, welded, screwed —
This work quotes a computer-device developed at the University of Tokyo, which projects ghost-like, invisible but tangible objects into midair.
To reverse, blow up and slow down the ubiquitous digital reproduction of the world, I constructed a machine which enables to reproduce threedimensional digital models as tangible clay-objects in a series of simple movements.
The analogue apparatus is built of fragments from found, old mechanisms and hence is both: A mirror of the concept its own production is subjected to and a physical diagram of semiotics.
Tiles — Typedesign, 26 Characters —
Based on the few letters, found on the package of tiles I designed this typeface.
Typemanual — Print Publication, 210 mm x 297 mm, Collaboration —
Design of one chapter and the cover.
Fahrenheit 451 — Print Publication, 105 mm x 180 mm, Collaboration —
Redesign of Ray Bradbury's book which was first released in 1953.
Bookshelf — Image sequence, diagram of book references —
This image sequence is the result of a research about individual information contexts. The book sculpture manifests the coherence of a private library.
Basilica — Typeface, 54 pages —
To illustrate the approach of 'Barock im Vatikan' on Baroque architecture, I designed a volumetric typeface based on blackletters. The font is deployed on the cover, for the pagenumbers, and as drop caps within the text.
Barock im Vatikan — 250 mm x 660 mm, 132 pages, Hardcover, white Linen, red book jacket, punched —
In 2006 the Kunsthalle Bonn launched the exhibition ‘Barock im Vatikan’ and released an associating catalogue. As part of a seminar at the University of Applied Sciences Hamburg I compiled excerpts of this catalogue in a special edition. My design focuses on the typographical characteristics considered typical for the Baroque, and intends to carry the periods artistic attitude.
Vizualisation of musical structure — Infomation Design —
An attempt to unveil patterns in a sequence of musical intervals, based on visually developed algorithms. Object of investigation was the 1. Fugue C-Dur, BWV 846 of »Das wohltemperierte Klavier« by Johann Sebastian Bach.
Voice Over — Handrawn Posters, 594 x 841 mm —
To emphazise the general use of posters and their role as a public medium, Keith Ein and me staged in a collaborational project its self-reflective potential. In a series of handrawn posters we reproduced the song-lyrics of ‘Don’t let me be misunderstood’.
Prime — Typeface, 172 Characters, 3 Weights —
Inspired by the particular means of a text from Yugoslavian writer Ivo Andric in the context of written language, I designed a typeface, to reproduce this text. The initially illustrative design passed significant transformation and finally appeared as a typeface of 3 weights, usable for body text.
‘Love and Hate’-Poster — Typedesign, Silkscreened, 1189 mm x 841 mm — To announce the ‘Love and Hate’ filmscreening at the Gerrit Rietveld Academie, I designed a handwritten typeface and a poster.
Sculp — Interface design —
‘Sculp’ is a software to generate interactive realtime-3D-environments and a collaboration with programer Sascha Merg. Within the project I supported the programs conception, designed the interface and tested its usability. ‘Sculp’ enables the user to control form, texture, lighting, position and behaviour of virtual objects and their virtual stage.
We develop and adjust the software for interactive life-performances.
Announcement Poster — Inkjet-Plot, 841 mm x 1189 mm —
Announcement Poster for the ‘Stilvorlagen’-lecture series at the University of Applied Sciences, Hamburg.
Tetrahedron Object I — Antennas, Plastic, Duck-Tape
Announcement Poster — Inkjet-Plot, 840 mm x 420 mm —
Announcement Poster for Leonardo Sonnoli as a lecturer at the ‘Stilvorlagen’ course of lectures at the University of Applied Sciences, Hamburg.
Aniversary Poster — Inkjet-Plot, 420 mm x 840 mm —
Anniversary Poster on the occasion of the 110th birthday of Lazlo Moholy Nagy.
Corporate Identity — Commissioned work, Collaboration with Thomas Ackermann, Hamburg —
SIS is a company, based in Hamburg and specialized on signage systems. When evaluating the material at hand, it became clear that a Corporate Design was not existing and had to be created at first.
Based on a typographical system and a functional colour coding we developed this. Whereas the new logo adresses the subject of orientation, the typeface emphasizes the companies engineering core.
Further, letter, businesscards, portfolio, and productsheets were designed, customizable to the daily demands.
On my current research
The world comes to light, as it dawns in the spectator, wallpapered with glaring electronic arcs and shrill bursts of neon.
With microscopic aspects of nature — plants, insects, glaced pebbles, reflecting drops, iridescent bubbles and coruscating waves that merge into the panoramic colour scales of deserts, woods and seas — our interfaces are wrapped into a divine fabric of luminiferous ether.
Subjected to forces beyond common laws of physics — yet considering space and time — linguistic sediments rise to immobile massifs, erode to drifting moraines, undulate within granular dunes to finally transmute into a vortical fold of absolute matter: Language is the audio-visual construct of vowels and consonants — an intangible compound of particles, able to reveal and reproduce substance.
Inflections and inclusions within, unfold as words, continuously rephrased by an endless and puzzling morphological process.
The topology of signs therefor is in an unsteady vocabulary — cavernous containers and mineral abbreviations of facts, that change with every iteration, volume, mass and inertia.
In the context of electronical media, the fold is made visible as an ubiquitous, mechanical application to administer information.
As ‘folder’ inflected and enhanced to utter function, hyperlinked to a binary fabric, the fold is visually manifested as an archetypical icon.
As infinite optical reverberation it is hence both skeleton and skin of an obscure and pseudo-spatial body.
The fold develops to a phallic extension of space, a medium of light, a tool and device, to unveil and obscure; A Cathedral of wide dimensions and absent materiality, of force eluding contour and a colossally colored radiance.
Our electronic devices install a light room, which cause an immediate change from profane day to a lux divina — A glinting architecture, that tints man’s face with fervent shadows when entering.
We are members of a cult, believers of an empyreal beyond; absorbed by the binary apparatus and distilled into a luminous flux. And as we try to permeate through the diaphanous, transparent screens, to penetrate and to manipulate the ultra-cavernous structure, we further ascend, doomed on a garish surface. While the fibrillating stimulus and the accelerated speed of scene-changes on our electronic displays offer rich sensation, the flood of perception is about to turn into an experiential desert: A dense landscape of signs and sign systems that manifest in endless, selfreferential loops and refer to nothing but themselves. We are sweped away by the raging stasis of a maelstrom that suffuses and keeps on growing in us — divested of our own identity and turned into images of images.
We worship the fold, as Prima materia, as Genesis of space, as yonic temple of Gods and Demons — as Ur-sign.
