Imagine Moscow, The Design Museum, 2017

Design of exhibition catalogue, Imagine Moscow for the Design Museum. The exhibition invited the audience to experience early c20th Moscow imagined by a bold new generation of architects and designers. The concept for the publication was to consider how one can experience a city through a book, a 3D space in a 2D format, considering mapping and scale. Following the 7 case studies presented in the exhibition, we navigate the reader through the mapped out city using a series of symbols. Through the production of some artworks at a scale of 1:1, large scale reproduction of Stalin's hand and illustrations of imagined buildings within the city of Moscow, we play with the idea of scale and dimension. The aesthetic sensibility of the book, is inspired by the Soviet Union graphical language but placing it in a contemporary setting.

Exhibition Annuals Review 2015–2016, International Awards for Art Critisism ( IAAC ), 2016

The Exhibition Annuals Review is a collection of the best exhibition reviews submitted each year to the competition. The inclusive structure of the Awards is set up to mimic John Moore's prize, where the submissions are anonymous, giving each applicant equal opportunity. Our design looks at utilising formats familiar to all, such as Google Docs and Microsoft Word as a basic structure, with the ability for the user to control how the text is read. With submissions being entered in both English and Chinese, we generated a typeface through swapping the rules of how the hand written characters are constructed in each language.

No Randomness, Saint Etienne Design Biennale, 2015

Exhibition graphics & set design for No Randomness, curated by Oscar Lhermitte for the design biennale in Saint Etienne. The concept for the exhibition was to address the overlooked elements of design found in everyday objects, outlining the detail of design consideration, many of which evolved due to practicality of production. Using this idea as a starting point for the set design, we looked at the practicality of exhibiting 19 items within the given space. Through the generation of a democratic grid, we created a template which provided each object equal space within the exhibition. This grid was then the basis for all our design decisions from the size of the display units to the typeface and the symbols. The symbols were created to highlight the unique function or design feature of each individual objects.

RCA Visual Cultures Lecture Series, Royal College of Art, 2014

A sequence of posters designed for Current Modes of Artistic Production lecture series organised by the Royal College of Art. The lectures series focuses on artists discussing specific artworks from concept to realisation. Utilising the template of social media network Facebook in 2013, and developing the concept to Twitter in 2014, the design for the posters functions for both print and online. Artist talks include Elmgreen & Dragset, Thomas Hirschhorn, Mark Leckey, Lucy Orta, Laure Provoust, Tomas Saraceno amongst others.

Derek William Trust, Derek William Trust, 2017

Design of visual identity and website for The Derek Williams Trust, Wales. The Trust was founded in 1992 to advance public education in and appreciation of the arts by the pubic display of fine works of art, working closely with Amgueddfa Cymru – National Museum Wales, collecting post-19th Century fine and applied art. Their new visual identity looks back at the roots of their existing logo. Through the act of collecting, the Trust has built upon its origins, evolved and expanded, a process which is echoed through their new visual identity.

Alber Elbaz / Lanvin – Manifeste, Lanvin, 2015

Concept, editing & design of publication, Alber-Elbaz / Lanvin – MANIFESTE. In a rare moment of calm, Alber Elbaz, artistic director of Lanvin, reflects upon his personal experiences and beliefs in relation to the fashion industry and the world in which we live. Exploring subjects such as the atelier, backstage, designing collections, emotions and jealousy, the reader is taken on a visual journey through Alber’s inner mind, where personal anecdotes and philosophies are depicted.

The book contains 148 photographs, captured by witnesses – But Sou Lai, Katy Reiss, Juliette da Cuhna, Alex Koo & Mark Leibowitz – who have all worked with Lanvin and Elbaz for many years. The book was released in conjunction with an exhibition at the Maison Europeenne de la Photographie in Paris ( 9th Sep – 10th Oct 2015 ).

Fresco for Euro Cup, Mairie de Paris, 2016

We were invited by the Mairie de Paris and Swedish embassy to represent Sweden for the collective artwork at the bank of the Seine during the Euro Cup this summer. 24 countries were represented in a one kilometre long fresco. Each participant were given a set of geometric shapes, colours and a set of rules. With Sweden having the highest number of asylum seekers per million habitants, and football being the most widely played sport in the world, we wanted to represent the cultural diversity of Sweden.The maze is based on the statistics of immigration to Sweden. Sadly just a couple of days after the Fresco was made, Paris was caused with the biggest flooding since 1910 and the banks of Seine was below water level, so was the fresco!

common-editions, common-editions, 2014

common-editions is a publisher of artists’ books, editions, multiples and other artefacts, run by Nadine Monem. The aim of c-e is to facilitate the production and wide distribution of art, and for the membrane between the aims of the artist and the hands of the public to be as thin as possible. STSQ generated an identity kit of every-day objects in order to reflect the affordable products for the every-day person.

Marie Jacotey, Self-published, 2015

Part concept, design & publishing of publication Dear Love Who Should Have Been Forever Mine - Marie Jacotey. This publication was the outcome of a close collaboration with the artist in order to develop a unique binding, which allows the reader total freedom in how they approach the work. The book is made up of individual artworks, loosely folded and gathered into two sections, each corresponding to the perspective of one of the protagonists. Part introspection, part emotional exchange, the visual correspondence can be read in multiple ways: in series as part of a continuous narrative, individually as unique artworks or even placed as a large-scale installation, to literally ‘map out’ this surprising love story.