Visual identity for a one day music event in Groningen, NL. Central themes: disruption, noise, distortion, glitch.
In the process I've created over 50 variations of the logotype by physically manipulating printouts on an active photocopier. You can see some of those results below.
Concept and graphics for an art installation, commissioned by and developed collaboratively with artist Igor Bobeldijk.
In the early stages of ideation we've decided that we will focus on three central concepts: late stage capitalism, human/machine error and algorithms interpreted as a religious ritual. The name is a play on Amazon, Enron, eschatology and political utopianism. We wanted to portray what a package shipping center might look like in the final moments of rapture, or perhaps after the sixth mass extinction. How long would the automated process continue? To borrow the infamous quote from Fredric Jameson / Mark Fisher, "it is easier to imagine an end to the world than an end to capitalism".
The installation was centered around cardboard packages moving autonomously (as if by their own volition) and procedurally generating vaguely poetic statements (more on that below). The event took place in a temporary art space constructed out of shipping containers. A couple of screens functioned as artificial windows, slowly shifting their hues between a sunny sky and the blue screen of death.
Bobeldijk has a background in programming and robotics. He assembled custom robots that pushed the boxes around from the inside, as well as a system that monitored their contingent physical positions.
Other than the conceptual development for the project, I designed the ESCHATON logo and the various graphics and looping videos for the screens. The logotype draws on low-res packaging labels, parking spot markers, basic religious imagery (i.e. I Ching hexagrams and the Christian cross), the escape key, and Paul Rand's iconic corporate designs.
The moving boxes/robots also generated semantically elusive sentences through a curated word bank and an algorithm that monitored their contingent spatial coordinates. I scraped the vocabulary from thematically relevant work of Walter Benjamin and W.B. Yeats, organized their selected writings into different parts of speech, essentially milling it down into "raw material" for subsequent algorithmic re-assembly. These new verses/lamentations were being generated and printed out in real time during the exhibition. The audience could take these receipts home as a memento.
Book design. Cover and collage illustrations for a book of introspective essays about the fleetingness of poetry in Poland.
Each chapter has its own halftone collage illustration.
Unused alternatives for the cover:
Similar as above: another book cover design with additional subtle collage illustrations.
A selection of miscellaneous older work. Some are commissions, some personal.
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