(un)framing vision
10.2021
9.5”x13”
9.5”x13”
Forming compositions requires more than just looking, it’s vision with care and deliberation. But just as a frame encolses an image, it opens up an infinite range of new ones.
Using cut-out circle, square, and rectangle paper frames, I sought to find striking images within found photos inside various library books. The act of substraction and abstraction, and then of selective and playful scanning, results in a series of compositions within compositions, that demonstrate the possibilities of careful looking.
Using cut-out circle, square, and rectangle paper frames, I sought to find striking images within found photos inside various library books. The act of substraction and abstraction, and then of selective and playful scanning, results in a series of compositions within compositions, that demonstrate the possibilities of careful looking.
Colors of Nothingness
10.2021
7”x8.5”
7”x8.5”
This book displays adapted imagery of molding bread along with photos of space from NASA’s archives. The concept draws inspiration from Leonard Koren’s writing on Japanese aesthetics, Wabi-Sabi. The juxtaposition of the expanding universe and an ordinary example of decay, looks to communicate the fine line between creation and destruction, and considers the encounter of the two as an opportunity for new life.
Naive Forms
04.2022
9.5”x13”
9.5”x13”
With time, we turn the visible world into designated meaning and language, quickly replacing looking with thinking.
This book honors a fundamental, child-like experience of the world, one understood primarily through form. Familiar objects of our environment are shown through the negative spaces of other objects around them, as a way to distort perception. The reader may find underlying connections and meaning between them, forming their own sense of the world.
The images were organized by their point of view, from sky to ground, indicated on the side of each page fold. Full bleed images hide between them, prompting curiosity and discovery.
Featured in Framework 101 & Parsons CD Thesis ‘22
This book honors a fundamental, child-like experience of the world, one understood primarily through form. Familiar objects of our environment are shown through the negative spaces of other objects around them, as a way to distort perception. The reader may find underlying connections and meaning between them, forming their own sense of the world.
The images were organized by their point of view, from sky to ground, indicated on the side of each page fold. Full bleed images hide between them, prompting curiosity and discovery.
Featured in Framework 101 & Parsons CD Thesis ‘22
NSFP International Issue
05.2022
Creative direction of The New School Free Press – The New School’s official student-run newspaper – Spring 2022 International Issue. In collaboration with Chelsea Sarabia.
With the largest body of international students in all of US’ colleges, and soon after a year-long global pandemic, we asked The New School community to define ‘home.’
The cover was designed to be detached and folded into a paper airplane, which we placed all around the campus as a way to promote the publication.
See in Issu
With the largest body of international students in all of US’ colleges, and soon after a year-long global pandemic, we asked The New School community to define ‘home.’
The cover was designed to be detached and folded into a paper airplane, which we placed all around the campus as a way to promote the publication.
See in Issu
Chirp & Chomp
11.2021
This publication challenges the misconceptions around entomophagy, the ancient practice of eating insects.
Through interviews with chefs, stories about restaurants, captivating data, and ads, this publication initiates a conversation about a more sustainable future for food. It avoids photography to make it more appealing, and uses a visual language and typographic style that is fun, experimental and slighly bizarre, to better match the nature of its content.
Through interviews with chefs, stories about restaurants, captivating data, and ads, this publication initiates a conversation about a more sustainable future for food. It avoids photography to make it more appealing, and uses a visual language and typographic style that is fun, experimental and slighly bizarre, to better match the nature of its content.