A problem with so-called identity work is that it tends – even desires – to simplify pre-existing, multifaceted identities. This is usually proffered as a good thing; simplicity being thought of as key to broader comprehension. But recent understandings of the fluid nature of identities suggest that attempts to deliberately simplify them are anachronistic at best.

 

Identities

Three posters for c3. Featuring a text by Behn Woods, each poster reconfigures similar elements, with a frame composed of the names of every contributor in C3's ten year history. Initially commissioned as a single poster, I expanded this job into three posters in acknowledgement of both the gallery name and the text supplied by Behn.

Identity and various applications for Bus Projects. This logo had no designated typeface nor spatial consistency. It was designed to operate as a frame by occupying the corners of whichever location it was needed, allowing the context to decide its parameters with each iteration.

True Belief is a small, intermittent publishing imprint that I run with a widening group of contributors. Primarily, we focus on the relationships between contemporary art practice and its methods of dissemination, explication and preservation. Some promotional materials.

Bus Projects’ annual fundraising exhibition identity for 2016. The poster features various facts and figures reflecting the supplied content, including number of times particular words appeared in the biographies (‘reinventing’ = 2, ‘contemporary’= 44). The animated hand device emphasised the important economic nature of the event.

Three of ten posters for a showing of Glimpse by Open Spatial Workshop. Originally commissioned as a single poster, I expanded this into ten in order to question assumed values of the kinds of graphic design that condenses and represents other practices. Although in various divergent styles, each poster still manages to communicate the central information (time, location etc) and to act as static visual proxy for the event, though each iteration alters initial perceptions of the event in different ways.

Three of four giant posters designed for Ross Coulter’s exhibition at NGV International (printed by Trent Walter at Negative Press).

The Artist Funded project is an artist-run initiative, started by artist Kate Fulton in Melbourne, Australia, which became widely viewed at Melbourne and Sydney artist-run galleries in 2004. Unlike typical gallery based artist-run initiatives, ‘Artist Funded’ takes the form of an open source logo which is available for any artist to redesign and to use. The Artist Funded project is designed to raise awareness of the financial and other contributions made by artists towards the various national arts industries. Parodying the logos of corporate and government sponsors that proliferate contemporary arts events, the Artist Funded project is designed to raise awareness to the fundamental importance of the often unpaid contribution of individual and groups of artists to contemporary culture. This logo designed by Adam Cruickshank. (Text pinched from Bus Projects).

Identity for Dodecahedron, an exhibition at Platform Contemporary Art Spaces that I curated in 2012. Featuring work from Dexter Sinister, Stuart Geddes, Damiano Bertoli, Agatha Gothe-Snape and eight other artists whose work is informed (at least in part) by histories of graphic design.

Between 2009 and 2012 I was the Artist Representative Board Member at Platform Contemporary Art Spaces and was responsible for all their graphic output during this time.

Logotype for The Big Design Market and various associated type and graphic styles for use in web, publications and exhibition design applications.