graphic design
& visual interventions

konstfack spring exhibition
Visual identity & image couture

In 2018 I was invited by Konstfack University to pitch for the visual identity of their annual spring exhibition. The brief asked for presentation of concept, poster, invitation card and website’s main page.

Being Konstfack the most progressive artistic institution in Sweden, I approached this commission as an opportunity to be fearless with form.

The visual identity departs from the concept of synesthesia with references in haute-couture, 3D printing, ornamentation and embrodiery. I looked for ways to create a highly-crafted space at the intersection of visuality, sound and materiality, and celebrate the school as a palace for the senses – where different sensitivities come together and are celebrated.

The identity makes an experimental use of image-making in digital environments, giving form to a distinctive visual language that pays tribute to human complexity and the sublime.

During this project I developed a new method called transformative drawing, where the act of drawing from a reference leads to a totally new form of arrival through recursive interpolations. The original reference is not traceable anymore although its core remains present.

Drawings made by hand in 1 color departing from existing runaway garments move into the abstract through the pure use of the line, and are then digitalised and interpolated to create a new visual universe.

To the proposal I added a concept for signage based on textiles, layout for exhibitor’s caption, proposal for laser-cut students’ pin, and social media materials.

Even though the proposal was not the winning one, this project has had great impact on my artistic development. The methodology and form developed here later became an animated video, which then became a commissioned on-site installation part of the first graphic design biennial of the UAE region.

This work has also been an opportunity to expand my research on the decorative in the digital realm, looking into what forms the ornamental can take in virtual spaces and the emotional layers that can be created in connection with it.

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