My work focuses on an ordinary subject that we interact with every day, text. As a designer, I have always been interested in the way viewers interpret and extrapolate information conveyed through text. Using the alphabet as a medium, I’ve dissected the common structures of letters A-Z to combine form and content as image. My motivation and objective is to use the shapes found in the alphabet as forms rather than building blocks of words, freeing myself from the confines of legibility required in graphic design and meaning assigned to language. Offering in turn, a visual experience of information that goes beyond text and readability.
Practicing between traditional (painting, mixed media) and digital (graphic design) methods of art making, my work bridges the gap between the past, present, and future to transform familiar imagery and abstract forms into systematic imaginative compositions. Thematically, I attempt to highlight the struggle between what we believe we see, what we want to see, and what is actually there to be seen. Detached from the duties of communication and meaning, I use the material qualities of language with color to acknowledge, explore, narrate and express my experiences and the world around me.
Being someone that relies heavily on technology to disseminate information, I am obsessed with the ways in which perception, information, and expression have in some way been flattened by the world of technology. My conceptual and systematic framework style are exploited as a means to an end; for me, clarity and balance are found solely though the process itself. What remains is a new and deconstructed idea of communication. The conclusion, if any, is left to the viewer’s discretion.
As the sole designer of Riot Act Comedy Theater, a premiere comedy theater in downtown Washington, DC, my role was to develop and create cross media marketing tools.
The Way Out Is Through is a multidisciplinary exhibition that addresses the shifting landscape of urban environments. Through video, interactive media, installation, performance, and sculpture by participating artists—Peggy Buth, Raquel Cepeda, Free Breakfast Program, Paloma McGregor, Akeema-Zane, Nicko Nogués, Kyla Marshell, Mark Salvatus, and Phan V.,—the exhibition asks what is the relationship between home and communities in flux.
Organized by No Longer Empty (NLE) -- The Curatorial Lab, a professional development program that gives emerging curators an opportunity to build upon their existing knowledge and gain first-hand experience and support in developing, staging and evaluating a site-responsive exhibition.
My role in this exhibition was to design an exhibition booklet for the writers and poets involved. The goal was of this project was to give leave the audience with a literary "take-away" from this exhibition that encompassed the attitudes, interests, and emotions that dealt with our responses to the tensions between our home interiors, exteriors of public space, and the act of letting go.
Curated by: Leticia Gutierrez, Ladi’Sasha Jones, Kirstin Kapustik, Zena Koo, John Kenneth Paranada, and Maurizzio Hector Pineda
The Laundromat Project amplifies the creativity that already exists within communities by using arts and culture to build community networks, solve problems, and enhance our sense of ownership in the places where we live, work, and grow. SOAPBOX is The Laundromat Project’s elegant and art-filled annual benefit, including delicious beverages and hors d’oeuvres, live DJ, an exclusive special edition print, silent auction, and fun art experiences. The objective of this project was to create a program booklet for the event.
Every Child Ready is AppleTree Institute's evidence-based, award-winning early learning instructional model that drives what to teach, how to teach, and how to measure success.
Working with AppleTree Institute, I was tasked with developing the house style and brand visuals for all print and digital collateral of Every Child Ready.