This website is a repository of personal materials edited on an ongoing basis, in order to serve a medium: the screen. No single artefact is physically presented, but instead is reflected by its reproduction. Accounting for a cycle of time, such ratios are not consequently categorised through a normative chronology, with visual semantics superseding and, rather operating on a synthesis whereby a documents production resultantly effects its organisation into a form. The system of configuration embedded into the process of making this site is thus, as if, by hand. No algorithm sets a predetermined formula for providing content, with each page being treated as though its substitute, i.e. as a fragment as a part of the daily routine of living.


My practice takes an enduring relationship with typographic led processes as a basis to explore how a message operates. Predominant is to question the role of all forms of communication, and how translation processes, through both visual and semantic based material become evident via myriad types of technologic and ethnographic representation.

A central aspect within my work concerns the muted purpose of the printed surface and its function to serve as an underlying cypher for how image and language are formally constructed.

These fundamental elements outline a broader engagement in human behaviour within built environments, and how together they elicit a relationship between what is cognate and visible or realised, resultantly hinting toward renewed forms of meaning for what is considered either an image, text or object.

I have exhibited work at: London's Tate Modern (Offprint, 2015) and have been included in New York's Museum of Modern Art Library (2012) and Amsterdam's Stedelijk Museum Archive (2012) and as part of the 25th and 27th Brno Biennales in the Czech Republic (2012, 2016).

In 2017 I kept a visual and inter-textual based column in IDEA magazine, Tokyo, Japan, and was a resident at Rogaland Kunstsenter, Stavanger, Norway.

I have taught graphic design at University for the Creative Arts, UK (2014); University of East London, UK (2015); ArtEZ Institute of the Arts, Arnhem, NL (2016), and Arts University Bournemouth, UK (2017), in various capacities as: lecturer, associate lecturer, visiting tutor, and guest tutor respectively.

Selected Work


Petshop Doorbell
I.C.W. Felicia von Zweigbergk
*Release date TBC
Amsterdam, NL

'Alphabetical Pareidolia' feature.
Interview with Madeleine Morley
AIGA Eye on Design No.2
New York, US, July, 2018


The Beginning of Forms
Rogaland Kunstsenter, NO
June, 2018
I.C.W. Geraldo Dos Santos
Amsterdam, NL, 2018

So Far So Real
I.C.W. Radna Rumping
Amsterdam, NL, 2017

Rogaland Kunstsenter
Stavanger, NO, 2017

Times Maker
Hit Gallery
Geneva, CH, 2017

Companion Planting
Goldsmiths, UOL Allotment
London, UK, 2017

Language Without Place
IDEA Magazine, Issues No. 376–379
Tokyo, JP, 2017

Skeleton Argument
Wellcome Collection
London, UK, 2016

27th Brno Biennale
Brno, CZ, 2016


Things We Didn't Have Before
Pump House Gallery, Battersea Park
London, UK, 2015

Under The Sign
Platform for Contemporary Art
Amsterdam, NL, 2014

Goethe Institute
Amsterdam, NL, 2014

Mute Written Orchestration
Marres, Centre for Contemporary Culture
Maastricht, NL, 2013

San Serriffe
Amsterdam, NL, 2012

GRA Magazine (Designer)
Gerrit Rietveld Academie
Amsterdam, NL, 2009