assange
This is the image - in full - that I used in the circuit breaker poster and it is also sitting behind the 'darkside' triangle / moon. I shot this on Ann Street in Brisbane. I can see Julian Assange in there but have yet to work out who the main figure is
more time
People suffer deeply when time is divided up / into rigid segments / mathematical management / focussed on efficiency / and productivity / and this relentless chase for constant growth and hey really it is / just a chase for more /// profit
darkside
It is just a really small section of an image running through the inside a three simple shapes (one you can barely see) and printed onto canvas paper. And there was something about the result and the process I went through to get there that captivated me
kraftwerk
I came across two things pretty much in the one hit - kraft paper - and that crumpled up paper method method of displaying a piece of work
on inspiration
There is this epic idea that you have used inspiration well when you can hold up all your inspiration next to your work and be comfortable saying to someone, "hey this is what I created and this is what inspired me". If you are not comfortable doing that then your work is too close
Sym/etry
This was the too literal / no mystery / no nuance / actually looks too much like something outcome from the balance through symmetry exercise. I wasn't into it. But did love the process
Indesign is Sexy
This was me working on the 'Circuit Breaker' poster. Indesign is sexy. All those lines and visuals and mysterious instruments and controls. Like a fighter pilots' cockpit
No Movement
The line, "there is no movement right now" is designer Chris Ashworth. So too is the technique I am playing with. I was creating a background that I later put into Indesign and embedded type over the top. The technique is super raw and the line from Chris is actually a call to action
on mixed methods
A series of zine style pieces I pulled together whilst - and also as part of - working on one of the co-created / mixed-methods / spoken word / art pieces focussed on technology and privacy I think I simply titled, 'run'
Touch
It touches everything you care about ⎮ So I want you to take a stand here. This is a constantly and rapidly evolving relationship that has defined our past, defines our present, and will forever define our future. It touches everything you care about. From the personal through public policy. From the professional all the way to broad speaking philosophy. And
Zines Will Never Die
In an age where paper and print and the future of books is called into question - zines endure. Handmade high weirdness. Chaos and edge. The stuff that has impact and the stuff that truly lasts has always been strange
future mechanism
If I had of created this using Illustrator and Indesign and no inspiration from anywhere but within my own tweaked mind I would have been ecstatic
Paper Doesn’t Crash
Graphic designer Chris Ashworth asks where the human is in the work. David Carson is constantly scanning - for stuff that is not homogenised by technology. Both still work offline. And have noticed that paper doesn't crash
Hell Yeah It is
One of the early criticisms of David Carson’s work was it was self indulgent. His response to that was, “Hell yeah it is. I’m totally into it”. Fuck I love Carson's vibe
Let It Be
I’m asked to explain. The inexplicable. And to make something tangible. From methods that in reality are abstract. If a student stands up on behalf of the group and says, “what you did here will stay with us for life” is that not tangible. Enough. For you
Chasing Tension
I find tension really easy to spot but astonishingly hard to recreate in my own artistic work. I asked a graphic design teacher if it is supposed to feel uncomfortable. He said, "like a rubber band is about to snap". Which is a cool explanation. Visceral