As coined by the Letterist International in the 1950s, détournement is "the integration of present or past modes of artistic production into a superior construct or milieu". I'm interested in this positioning of interdisciplinary work, as an inherently political act — How can it be integrated into the design process? In what way does the outcome differ, when using a contemporary tool-kit?
Method: A set of linguistic parameters are pre-determined, within which the analysis and (re)construction of objects take place. New arrangements, configurations, and juxtapositions are modeled digitally, deriving from typologies of found forms — collected by means of Internet dérive.
The framework deliberately delineates objects within odd categories of classification, for example, a talisman is represented using the form-language of a lightbox and an idol is represented by a drinking fountain. This creates a dialogical space between conceptual classifications of things and their material substance.
Physical (re)construction is a crucial aspect of the work — a distinguishing factor from the use of found objects. There is a practical engagement with the values, economics, and politics of productive labor, from artisanal craft to industrial manufacturing.
This project aims to unpack the social function of commodities (i.e. most artificial forms), as distinct from their use value. The consideration of artificial things, beyond their physicality, engenders a perspective on the culture which produced them.
School of Communication
MA Visual Communication, 2017
+ 44 (0)7497 796196
I practice graphic design and object-oriented design. I'm interested in the ways in which meaning is constructed in the exchange between words and things — and beleave this engenders a depth of communication.
Type, print, and publishing correspond with a material and formal inquiry in an investigation of commodities, forms, and built environments. With this method, I aim to address the human experience via our material index.