Scott Joseph

Index (Under the Sign)

N.B. Images on the index page are currently undergoing re-categorisation and naming to associate to an already existent artifact or status.

Selected Work

Printed Matter:

Public Lecture Series
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
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 uses 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 concerns the muted purpose of both printed and screen based surfaces and how they function to condition image and language construction—in-line to technological obsolescence and its affects on both wider material culture and social interaction, whereby an inter-relation between content and its visual formalisation resultantly emerges.

In conjunction, an engagement in human behaviour within built environments is explored, a methodology which co-opts how composition of space brings together sequential connections between what is cognate and visible or realised, with output hinting towards renewed kinds of meaning for what is considered either an image, text or object.

Trained initially at the LCC in London 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, and have been included in New York's Museum of Modern Art Library and Amsterdam's Stedelijk Museum Archive, as well as part of the 25th and 27th editions of the Brno Biennale, Czech Republic. Additionally, I have collaborated with a range of institutes and people as a graphic designer, artist and writer/editor, including: Goethe Institute, Amsterdam, NL; Wellcome Collection, London, UK; Pump House Gallery, London, UK; Marres, Centre for Contemporary Culture, Maastricht, NL; Goldsmiths, University of London, UK; and Perdu Literary Foundation, Amsterdam, NL.

In 2017 I kept a visual and inter-textual based column in the International Typographic and Graphic Arts journal, IDEA, Tokyo, Japan, and was a designer in residence at Rogaland Kunstsenter, Stavanger, Norway.

In 2018 my 'Alphabetical Pareidolia' project was profiled in AIGA magazine, NYC, US.

In 2019 my typographic research was supported by the Stimuleringsfonds, the Netherlands.

Previous pedagogical and research practice in the discipline of Graphic Design includes: 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); Bucks New University, UK (2018), and University of Greenwich, UK (2019–20), in various capacities as: Lecturer, Associate Lecturer, and Visiting and Guest Tutor, with grants and stipends received from: Fonds BKVB, NL; Amsterdam Fonds Voor De Kunst, NL; UCA Research Fund, UK; Mondriaan Fonds, NL; Norsk Kulturfond, NO and Stimuleringsfonds, NL.

Selected Activities


Lecturer, Graphic Design, University of Greenwich, 2019–20

Under the Sign
Stimuleringsfonds, NL, 2019

'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

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—2021

Display Unit Display Unit Display Unit

Deep Cuts

The Torch In My Ear, an exhibition essay to accompany the group exhibition 'Deep Cuts' at Marres, Centre for Contemporary Culture, Maastricht, November 2012 – February 2013.

The essay takes Frans Snyders 'Concert of Birds' painting series as a basis to explore fleeting references to birds of flight from other sources and taps into the role of sampling in broader electronic music culture (in silence), while also serving as a working example of understanding the difference between accentual, isoverbic and scansion textual forms, as well as the basic premise of sonic and typographic elements in explorative and experimental writing.

Other works and performances within the exhibition by:

Bonnie Camplin, Jason Coburn, Michele Di Menna, Paul Elliman, Will Holder, Nicholas Matranga, Michaela Meise, Jochen Schmith, Benjamin Seror, Lucie Stahl, Holger Steen and Cara Tolmie.

Curated by Lisette Smits.

Download PDF.

See also: Mute Written Orchestration.