What happens after movement stops? How is a dance preserved?
Among dance fans and professionals, there’s a gap in knowledge of what happens to a dance after the live performance ends.
To further investigate this question, I spoke with choreographers, dancers, historians, and notators, no two of whom provided the same opinion about documenting movement. Some even considered preservation of any sort to be an afterthought, something secondary to the live performance. What emerged was a debate about types of media —particularly surrounding written notation vis-a-vis film—that illuminated both the limits of current technology and issues with symbolic representations that take precious time to understand.
The book is broken into sections that deal with the early development of dance notation, my interviews with dance professionals, digital alternatives to notation, and a contemplation of not attempting to preserve performance at all.
This book is for balletomanes and anyone curious about the intersections of the four-dimensional with the three-dimensional with the two-dimensional, a question that seems increasingly relevant in today’s digital age. It is also for those interested in translation and comprehension, interested in how art survives the passing of generations, or contemplating the balance of fleeting and lasting experiences.
As does anything durational, dance makes us consider our own mortality and concerns surrounding loss. How much does preservation matter?
Armour is the style and culture publication at Washington University in St. Louis. We are a team of fifty and produce a ninety-page magazine each semester, supplemented by web-exclusive content.
As Editor in Chief, I direct photo shoots and design, run brainstorming meetings, initiate marketing and fundraising, and edit all published content.
This is an identity design for Flip Turns, a swimming podcast run by Chris Conner that tells stories about the ways in which swimming has impacted lives.
Goals for the new mark included standing out among “busier” podcast artwork on the market, communicating the words inspiring, fun, simple, and conveying the fact that this is a podcast for contexts where that might be less evident, such as merchandise.
We eventually arrived at a clean typographic approach that emphasized the smooth curves and seamless movement of the flip turn, and the integration of the words "a podcast" for clarity when the mark is applied to merchandise.
This is a promotional video for a song by the The Black Keys called 'Gold on the Ceiling.'
To convey the frenetic sense of revelry that characterizes this song, I manipulated images of beads and jewelry until they were almost unrecognizably abstract, yet maintained their distinctive glittery quality. Throughout the video, I interspersed a manipulated version of the typeface Druk, which was animated to have a movement that was somewhere between dripping and springing with life. Black bars become "played" as if part of a piano, drawing on the name of the band.
"Where the long lines are almost as famous as the masterpieces," reads the website of the Museo Uffizi in Florence, Italy.
This app tries to make those lines less [in]famous.
Maps, art guides, event calendars, and customizable itineraries make navigating both the ticket line and the galleries of this famous institution manageable.
This is a rebrand of Florence's first ever gelateria, Vivoli, founded in the early 1900s.
The redesign strives to maintain a sense of the brand's rich history through the diminutive body typography, while also adding a more elegant typographic mark and a cleaner, delectable color palette. The use of the circle became a way to engage the negative space of the logo, as well as serving as a patterning element and motif for each ice cream flavor on the menu.
At the very bottom is the original logo.
This book is an investigation of a resale store in Milwaukee. I was struck by the way that it was organized by vendor, and wondered what other ways of sorting such a dense assemblage of objects could be.
The process of reorganization became a way to uncover patterns among neglected items, providing them with a new definition of worth. I was interested in how we assign value to objects, as well as the particular qualities of a ‘thing’ that draw us in.
The book is over 600 pages, so quickly leafing through it became a temporal experience that blurred distinctions between each object.
A simple coding system along the edge of the book makes it easy for a reader to quickly jump to each sorted section (color, size, and price).
This is a book for the organization We Stories that explores definitions of the words neighborhood, race, prejudice, segregation, privilege, culture, social identity, activism, freedom, and diversity.
We Stories is a St. Louis-based organization that uses children's books to encourage a discourse about race between parents and young kids. Their mission statement:
We envision a St. Louis region where all families, regardless of race, have the opportunity to thrive.
We Stories uses the power of children’s literature to create conversation, change and hope in St. Louis, and a stronger, more equitable and inclusive future for all.
The pairing of collages and text explore visual representations of each term, expanding upon literal definitions in order to grasp at the intangible, emotive qualities of weighty words.
This book seeks to serve as a readily accessible primer for an audience interested in broaching topics of race and identity within society.
The cover was printed on canvas and the title laser cut.
Tasked with creating a brand to fill a gap in the current market, I developed Herbose, a system of herbal remedies for chronic but non-life threatening afflictions such as acid reflux, insomnia, anxiety, fatigue, and tension headaches.
Struck by the prevalence of reported side effects of prescription drugs, I conceived of products that would seek to ameliorate common maladies in a more preventative, holistic, and natural way.
Departing from clichéd associations with herbs, the brand seeks to fill a niche with a modern, customizable, and therapeutic approach to treatment. The brand is named Herbose, a melding of the words "herb" and "verbose," and includes tinctures (alcohol and herb concentrate) and dried herbs for infusions.
This is a screen printed book that folds out into a poster. It was inspired by the podcast 'The Psychopath Test' by This American Life.
The podcast hosts discuss the psychologist Robert Hare's Psychopath Checklist-Revised. The test, designed for an actual psychological profile, was light-heartedly taken by the hosts to see who among them had the most tendencies.
Spoiler alert: none of them come close to the abnormal range.
Listen to the podcast here.
This is a digital design intervention, an app that interrupts the workday with a pop-up reminder a customizable number of times a day. It functions as an interruption asking the participant to dance.
Once the user accepts the reminder, the app opens and teaches a single, simple dance move. The participant to get up and move for a minute or two, requiring little sacrifice in the way of work and a busy schedule.
A process map at the end of each step would reveal how much of a full dance (in this case, The Hustle) the participant has learned. It's playful and productive.
Bright color, upbeat music (optional) and sourced images from 1970s nightclubs add a groovy twist.