Scott Joseph


Selected Work

Printed Matter:

The Beginning of Forms
Companion Planting
Times Maker
Skeleton Argument
The Tone Is Theirs
Mark & Measure


Language Without Place
For As Far As I Can See
Alphabetical Pareidolia
Mute Written Orchestration


Found When Out I
Found When Out II
Combination Prints
Spirit Level
Display Unit


Speech Flies Away, Written Words Remain
Like A Tongue That Tried To Speak
A-Z Directions
Notes On A White Painting


Yet to be filed

My practice as a designer 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 editorial activity.

A central aspect within my work concerns the muted purpose of printed surfaces, and how they function to condition image and language construction.

These fundamental elements outline a broader engagement in human behaviour within built environments, and how together relationships are elicited between what is cognate and visible or realised, resultantly hinting towards renewed kinds of meaning for what is considered either an image, text or object.

I graduated from the graphic design department of the Gerrit Rietveld Academie in 2009, and have exhibited print based 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), as well as part of the 25th and 27th editions of the Brno Biennale, Czech Republic (2012, 2016).

In 2017 I kept a visual and inter-textual based column in IDEA magazine, Tokyo, Japan, and was a designer in residence 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); Arts University Bournemouth, UK (2017), and Bucks New University, UK (2018), in various capacities as: lecturer, associate lecturer, and visiting and guest tutor.

Selected Activities


Type and Image Tutor, B.A Graphic Design
Bucks New University, UK, Autumn, 2018


'Alphabetical Pareidolia'
AIGA Eye on Design No.2 (Print Issue)
New York, US, 2018

Petshop Doorbell
I.C.W. Felicia von Zweigbergk
Amsterdam, NL, July, 2018

The Beginning of Forms
Published by Rogaland Kunstsenter
Stavanger, Norway, July, 2018

Geraldo Dos Santos
I.C.W. Geraldo Dos Santos
Amsterdam, NL, April, 2018

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

Rogaland Kunstsenter
Stavanger, NO, July, 2017

Times Maker
Hit Gallery
Geneva, CH, June, 2017

Companion Planting
Goldsmiths, UOL Allotment
London, UK, June, 2017

Language Without Place
IDEA Magazine, Issues No. 376–379
Tokyo, JP, January, April, July, October, 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

No Is The Only Word In A-Z
Perdu Foundation
Amsterdam, NL, 2012

Mute Written Orchestration
Marres, Centre for Contemporary Culture
Maastricht, NL, 2012

X Marks The Bokship
London, UK, 2012

San Serriffe
Amsterdam, NL, 2011

The Object Lag
Nieuwe Vide
Haarlem, NL, 2010

GRA Magazine
Gerrit Rietveld Academie
Amsterdam, NL, 2009

(c) 2008—2018

For As Far As I Can See

Line painters apply surface markings to communicate information on roads for pedestrians and drivers. Despite international effort to unify such marks (to negate confusion and uncertainty about their meaning) specifications can change depending on country and region. Non-mechanical line painters mark out a horizontal and vertical grid with rope dipped into a white chalk. Painted onto the road using a steel jug and a 'painting stick', a tool which has an angled gauzed end-point, is equivalent to a large piece of steel section and functions like the tip of a pen.

'When you are walking on your own you think differently. Sometimes your thoughts fall into rhythm with the walk. A monologue of thoughts can suddenly turn into a dialogue when a new surrounding imposes itself. Ideally you will not be thinking at all for lengths of time. You can do nothing but walk, watch and think. To think about this walking and watching and thinking. You are on a territory of transition, submission and unfocused concentration. A time travel in the now if you will.'

'Walking', Gustaaf Wouters, 1979.

Produced for 'Time Travels', as a part of the exhibition series 'All We Can Do Is What We Are Actually Already Doing'. P/////AKT, Amsterdam, NL, 2015.