2014
Combining my love for museums, because I adore seeing curated artefacts housed within glass frames, each name card contains a fragment of my sketches and scribbles, allowing viewers a glimpse into my brain and how I work.
Limited pieces.
30/100 left.
Experiment, Archiving, Creative Direction
2014
The book(s) functions in two parts.
The larger book revisits interviews, readings and ideas that the author had once agreed with and that had influenced her practice as a designer but which she had since come to question. Having tried to change herself according to the research—believing that sound and credible findings must mean it is right for her—she instead became restless and unproductive. This led to a final realisation: there is no single correct way to be a designer. Whatever we encounter is ultimately an opinion, and we are entitled to form our own. And for the author, perfectionism is not a fixation to be eliminated; it is also a form of drive.
The smaller book therefore takes a different approach. Filled with quotes from films and everyday words of encouragement, it functions as a pocket-sized cheerleader: something to carry through tough days and turn to when a little buoying up is needed.
Undergraduate-work, Research, Experiment, Writing
2013
Split into two sections, the book interviews 10 design-industry practitioners, exploring their views on achieving perfection in design and their methods for overcoming creative block. The second section puts their advice into practice by testing the effectiveness of the 20 methods they shared. Unsurprisingly, all the methods encourage designers to actively avoid doing design-related things, hence the title of the book.
The documented experiments allow readers to experience the research journey firsthand, while encouraging them to try the methods themselves and discover one (or more) that might help them overcome their own creative block.
Undergraduate-work, Research, Interview, Experiment, Writing, Documentation
2013
The first book, I: Decoding Perfection, explores what perfection means and designers’ pursuit of it; the second book, II: Controlling Edition, investigates how such obsession manifests in practice; while the final book, III: Embracing Dissatisfaction, explores coming to terms with the discomfort of never achieving perfection.
The overall project is titled Ø, a mathematical symbol for “the empty set” (a set containing no elements). The connection is deliberately metaphorical. Perfection is a concept recognised by designers, yet there isn’t a universally agreed definition of what “perfect” is. We can pursue it, measure ourselves against it, and endlessly revise our works, but the goal remains subjective and impossible to definitively pin down.
Ø therefore represents the absence of a fixed definition at the centre of the concept of perfection, while the ambiguity of the symbol reflects the uncertainty encountered throughout the research. Which, ironically, makes Ø an appropriately imperfect symbol for a project on perfection.
Undergraduate-work, Research, Interview, Experiment, Writing
2007
The result is a hand-drawn 150 mm × 150 mm satire coffee table book filled with humour, irony, contradictions, and brutally honest points of view from a smart-mouthed young designer.
While readers are entitled to the designer’s conclusion, they’re also encouraged not to be passive but to take control of the narrative—by punching out the level of “overrated-ness” at the end of each topic.
Research, Interview, Satire, Creative Direction, Publication, Illustration