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Next Friday I’ll be presenting Bₑₜwₑₑₙ ₛᵢgₙₐₗ ₐₙd ₛₑₙₛₑ: ₗₐₜₑₙcy ₐₙd ₜₕₑ ᵣᵢₛₑ ₒf Fᵤzzy ₛₑₑᵢₙg @illustrationeducators around this year’s theme [𝙰𝚐𝚒𝚝𝚊𝚝𝚒𝚘𝚗–𝙾𝚜𝚌𝚒𝚕𝚕𝚊𝚝𝚒𝚘𝚗–𝙴𝚖𝚋𝚘𝚍𝚒𝚖𝚎𝚗𝚝].

🖍️The slideshow gathers fragments of observations and speculations around machine vision, generative images, latency, and probabilistic seeing through the intersection of graphic design, visual culture, and computational imagery.

✏️Alongside the talk, I have also been developing the project as a printed ephemera that translates the logic of the essayistic narrative into distributable print using audiovisual fragments, annotations, footnotes, and generative image experiments in dialogue with historical references. Rather than functioning as supplementary material, these elements operate as an active network of relations, allowing the essay to unfold through juxtaposition, layered citation, and dynamic navigation.

🖊️The printed version will be available this weekend 9-10th May through @ghentartbookfair
Edition of 50. DM if you are interested in getting a copy.

Next Friday I’ll be presenting Bₑₜwₑₑₙ ₛᵢgₙₐₗ ₐₙd ₛₑₙₛₑ: ₗₐₜₑₙcy ₐₙd ₜₕₑ ᵣᵢₛₑ ₒf Fᵤzzy ₛₑₑᵢₙg @illustrationeducators around this year’s theme [𝙰𝚐𝚒𝚝𝚊𝚝𝚒𝚘𝚗–𝙾𝚜𝚌𝚒𝚕𝚕𝚊𝚝𝚒𝚘𝚗–𝙴𝚖𝚋𝚘𝚍𝚒𝚖𝚎𝚗𝚝].

🖍️The slideshow gathers fragments of observations and speculations around machine vision, generative images, latency, and probabilistic seeing through the intersection of graphic design, visual culture, and computational imagery.

✏️Alongside the talk, I have also been developing the project as a printed ephemera that translates the logic of the essayistic narrative into distributable print using audiovisual fragments, annotations, footnotes, and generative image experiments in dialogue with historical references. Rather than functioning as supplementary material, these elements operate as an active network of relations, allowing the essay to unfold through juxtaposition, layered citation, and dynamic navigation.

🖊️The printed version will be available this weekend 9-10th May through @ghentartbookfair
Edition of 50. DM if you are interested in getting a copy.

Next Friday I’ll be presenting Bₑₜwₑₑₙ ₛᵢgₙₐₗ ₐₙd ₛₑₙₛₑ: ₗₐₜₑₙcy ₐₙd ₜₕₑ ᵣᵢₛₑ ₒf Fᵤzzy ₛₑₑᵢₙg @illustrationeducators around this year’s theme [𝙰𝚐𝚒𝚝𝚊𝚝𝚒𝚘𝚗–𝙾𝚜𝚌𝚒𝚕𝚕𝚊𝚝𝚒𝚘𝚗–𝙴𝚖𝚋𝚘𝚍𝚒𝚖𝚎𝚗𝚝].

🖍️The slideshow gathers fragments of observations and speculations around machine vision, generative images, latency, and probabilistic seeing through the intersection of graphic design, visual culture, and computational imagery.

✏️Alongside the talk, I have also been developing the project as a printed ephemera that translates the logic of the essayistic narrative into distributable print using audiovisual fragments, annotations, footnotes, and generative image experiments in dialogue with historical references. Rather than functioning as supplementary material, these elements operate as an active network of relations, allowing the essay to unfold through juxtaposition, layered citation, and dynamic navigation.

🖊️The printed version will be available this weekend 9-10th May through @ghentartbookfair
Edition of 50. DM if you are interested in getting a copy.

Next Friday I’ll be presenting Bₑₜwₑₑₙ ₛᵢgₙₐₗ ₐₙd ₛₑₙₛₑ: ₗₐₜₑₙcy ₐₙd ₜₕₑ ᵣᵢₛₑ ₒf Fᵤzzy ₛₑₑᵢₙg @illustrationeducators around this year’s theme [𝙰𝚐𝚒𝚝𝚊𝚝𝚒𝚘𝚗–𝙾𝚜𝚌𝚒𝚕𝚕𝚊𝚝𝚒𝚘𝚗–𝙴𝚖𝚋𝚘𝚍𝚒𝚖𝚎𝚗𝚝].

🖍️The slideshow gathers fragments of observations and speculations around machine vision, generative images, latency, and probabilistic seeing through the intersection of graphic design, visual culture, and computational imagery.

✏️Alongside the talk, I have also been developing the project as a printed ephemera that translates the logic of the essayistic narrative into distributable print using audiovisual fragments, annotations, footnotes, and generative image experiments in dialogue with historical references. Rather than functioning as supplementary material, these elements operate as an active network of relations, allowing the essay to unfold through juxtaposition, layered citation, and dynamic navigation.

🖊️The printed version will be available this weekend 9-10th May through @ghentartbookfair
Edition of 50. DM if you are interested in getting a copy.

Next Friday I’ll be presenting Bₑₜwₑₑₙ ₛᵢgₙₐₗ ₐₙd ₛₑₙₛₑ: ₗₐₜₑₙcy ₐₙd ₜₕₑ ᵣᵢₛₑ ₒf Fᵤzzy ₛₑₑᵢₙg @illustrationeducators around this year’s theme [𝙰𝚐𝚒𝚝𝚊𝚝𝚒𝚘𝚗–𝙾𝚜𝚌𝚒𝚕𝚕𝚊𝚝𝚒𝚘𝚗–𝙴𝚖𝚋𝚘𝚍𝚒𝚖𝚎𝚗𝚝].

🖍️The slideshow gathers fragments of observations and speculations around machine vision, generative images, latency, and probabilistic seeing through the intersection of graphic design, visual culture, and computational imagery.

✏️Alongside the talk, I have also been developing the project as a printed ephemera that translates the logic of the essayistic narrative into distributable print using audiovisual fragments, annotations, footnotes, and generative image experiments in dialogue with historical references. Rather than functioning as supplementary material, these elements operate as an active network of relations, allowing the essay to unfold through juxtaposition, layered citation, and dynamic navigation.

🖊️The printed version will be available this weekend 9-10th May through @ghentartbookfair
Edition of 50. DM if you are interested in getting a copy.

Next Friday I’ll be presenting Bₑₜwₑₑₙ ₛᵢgₙₐₗ ₐₙd ₛₑₙₛₑ: ₗₐₜₑₙcy ₐₙd ₜₕₑ ᵣᵢₛₑ ₒf Fᵤzzy ₛₑₑᵢₙg @illustrationeducators around this year’s theme [𝙰𝚐𝚒𝚝𝚊𝚝𝚒𝚘𝚗–𝙾𝚜𝚌𝚒𝚕𝚕𝚊𝚝𝚒𝚘𝚗–𝙴𝚖𝚋𝚘𝚍𝚒𝚖𝚎𝚗𝚝].

🖍️The slideshow gathers fragments of observations and speculations around machine vision, generative images, latency, and probabilistic seeing through the intersection of graphic design, visual culture, and computational imagery.

✏️Alongside the talk, I have also been developing the project as a printed ephemera that translates the logic of the essayistic narrative into distributable print using audiovisual fragments, annotations, footnotes, and generative image experiments in dialogue with historical references. Rather than functioning as supplementary material, these elements operate as an active network of relations, allowing the essay to unfold through juxtaposition, layered citation, and dynamic navigation.

🖊️The printed version will be available this weekend 9-10th May through @ghentartbookfair
Edition of 50. DM if you are interested in getting a copy.

Next Friday I’ll be presenting Bₑₜwₑₑₙ ₛᵢgₙₐₗ ₐₙd ₛₑₙₛₑ: ₗₐₜₑₙcy ₐₙd ₜₕₑ ᵣᵢₛₑ ₒf Fᵤzzy ₛₑₑᵢₙg @illustrationeducators around this year’s theme [𝙰𝚐𝚒𝚝𝚊𝚝𝚒𝚘𝚗–𝙾𝚜𝚌𝚒𝚕𝚕𝚊𝚝𝚒𝚘𝚗–𝙴𝚖𝚋𝚘𝚍𝚒𝚖𝚎𝚗𝚝].

🖍️The slideshow gathers fragments of observations and speculations around machine vision, generative images, latency, and probabilistic seeing through the intersection of graphic design, visual culture, and computational imagery.

✏️Alongside the talk, I have also been developing the project as a printed ephemera that translates the logic of the essayistic narrative into distributable print using audiovisual fragments, annotations, footnotes, and generative image experiments in dialogue with historical references. Rather than functioning as supplementary material, these elements operate as an active network of relations, allowing the essay to unfold through juxtaposition, layered citation, and dynamic navigation.

🖊️The printed version will be available this weekend 9-10th May through @ghentartbookfair
Edition of 50. DM if you are interested in getting a copy.

Next Friday I’ll be presenting Bₑₜwₑₑₙ ₛᵢgₙₐₗ ₐₙd ₛₑₙₛₑ: ₗₐₜₑₙcy ₐₙd ₜₕₑ ᵣᵢₛₑ ₒf Fᵤzzy ₛₑₑᵢₙg @illustrationeducators around this year’s theme [𝙰𝚐𝚒𝚝𝚊𝚝𝚒𝚘𝚗–𝙾𝚜𝚌𝚒𝚕𝚕𝚊𝚝𝚒𝚘𝚗–𝙴𝚖𝚋𝚘𝚍𝚒𝚖𝚎𝚗𝚝].

🖍️The slideshow gathers fragments of observations and speculations around machine vision, generative images, latency, and probabilistic seeing through the intersection of graphic design, visual culture, and computational imagery.

✏️Alongside the talk, I have also been developing the project as a printed ephemera that translates the logic of the essayistic narrative into distributable print using audiovisual fragments, annotations, footnotes, and generative image experiments in dialogue with historical references. Rather than functioning as supplementary material, these elements operate as an active network of relations, allowing the essay to unfold through juxtaposition, layered citation, and dynamic navigation.

🖊️The printed version will be available this weekend 9-10th May through @ghentartbookfair
Edition of 50. DM if you are interested in getting a copy.

Launching our new title this year, te magazine N°4 𝚂𝚙𝚒𝚗𝚊𝚕 𝙼𝚎𝚖𝚘𝚛𝚢 《脊柱记忆》. Orders now available on our website, link in bio!
🦒🦆🐎🐄🐻🦌🐦‍⬛🦜🐅🐈
从支撑生命的脊柱出发，第四期聚焦于对于非人类动物的身体利用与操控，感知与共情。本期的大多数创作者都有着与动物长期相处或持续调研的经验，他们通过观察、教育、绘画、写作与图像等创作方式，去解构既有的“伦理关系”与“秩序”。我们是否可能构建一个相对平等的多物种世界？又是否能够以更为谦卑、内省的方式，重新学习如何与他者共处？第四期并不预设答案，而是邀请读者代入他者的身体，在缓慢的交换中重新打开想象，任由一种尚未被命名的关系在此间生成。

Starting from the spine, the very pillar of life, issue 4 of te magazine focuses on nonhuman animals to explore the manipulation of their bodies alongside themes of perception and empathy. This fourth issue does not offer answers; instead, it comprises reflections and imaginations, as most contributors have long-standing experiences with or ongoing research on animals. Through observation, education, painting, writing, and image-making, they seek to loosen the existing “ethical relationships” and “orderly rules.” Is it possible to envision a relatively equal multispecies world? Can we relearn how to coexist with “the other” through a more humble and introspective lens? Issue 4 offers no definitive answers; instead, it invites readers to inhabit the bodies of others, to feel and acknowledge them. A slow exchange occurs that reopens our imagination and generates a relationship that has yet to be named.

𓇻 Featuring 10 contributions across disciplines.
𓇻 Editorial team @michaelguooo @kechuncc @nod_yek
𓇻 Graphic design, as always by @solxus

You will encounter the book at the following book fairs and in bookstores!

Launching our new title this year, te magazine N°4 𝚂𝚙𝚒𝚗𝚊𝚕 𝙼𝚎𝚖𝚘𝚛𝚢 《脊柱记忆》. Orders now available on our website, link in bio!
🦒🦆🐎🐄🐻🦌🐦‍⬛🦜🐅🐈
从支撑生命的脊柱出发，第四期聚焦于对于非人类动物的身体利用与操控，感知与共情。本期的大多数创作者都有着与动物长期相处或持续调研的经验，他们通过观察、教育、绘画、写作与图像等创作方式，去解构既有的“伦理关系”与“秩序”。我们是否可能构建一个相对平等的多物种世界？又是否能够以更为谦卑、内省的方式，重新学习如何与他者共处？第四期并不预设答案，而是邀请读者代入他者的身体，在缓慢的交换中重新打开想象，任由一种尚未被命名的关系在此间生成。

Starting from the spine, the very pillar of life, issue 4 of te magazine focuses on nonhuman animals to explore the manipulation of their bodies alongside themes of perception and empathy. This fourth issue does not offer answers; instead, it comprises reflections and imaginations, as most contributors have long-standing experiences with or ongoing research on animals. Through observation, education, painting, writing, and image-making, they seek to loosen the existing “ethical relationships” and “orderly rules.” Is it possible to envision a relatively equal multispecies world? Can we relearn how to coexist with “the other” through a more humble and introspective lens? Issue 4 offers no definitive answers; instead, it invites readers to inhabit the bodies of others, to feel and acknowledge them. A slow exchange occurs that reopens our imagination and generates a relationship that has yet to be named.

𓇻 Featuring 10 contributions across disciplines.
𓇻 Editorial team @michaelguooo @kechuncc @nod_yek
𓇻 Graphic design, as always by @solxus

You will encounter the book at the following book fairs and in bookstores!

Launching our new title this year, te magazine N°4 𝚂𝚙𝚒𝚗𝚊𝚕 𝙼𝚎𝚖𝚘𝚛𝚢 《脊柱记忆》. Orders now available on our website, link in bio!
🦒🦆🐎🐄🐻🦌🐦‍⬛🦜🐅🐈
从支撑生命的脊柱出发，第四期聚焦于对于非人类动物的身体利用与操控，感知与共情。本期的大多数创作者都有着与动物长期相处或持续调研的经验，他们通过观察、教育、绘画、写作与图像等创作方式，去解构既有的“伦理关系”与“秩序”。我们是否可能构建一个相对平等的多物种世界？又是否能够以更为谦卑、内省的方式，重新学习如何与他者共处？第四期并不预设答案，而是邀请读者代入他者的身体，在缓慢的交换中重新打开想象，任由一种尚未被命名的关系在此间生成。

Starting from the spine, the very pillar of life, issue 4 of te magazine focuses on nonhuman animals to explore the manipulation of their bodies alongside themes of perception and empathy. This fourth issue does not offer answers; instead, it comprises reflections and imaginations, as most contributors have long-standing experiences with or ongoing research on animals. Through observation, education, painting, writing, and image-making, they seek to loosen the existing “ethical relationships” and “orderly rules.” Is it possible to envision a relatively equal multispecies world? Can we relearn how to coexist with “the other” through a more humble and introspective lens? Issue 4 offers no definitive answers; instead, it invites readers to inhabit the bodies of others, to feel and acknowledge them. A slow exchange occurs that reopens our imagination and generates a relationship that has yet to be named.

𓇻 Featuring 10 contributions across disciplines.
𓇻 Editorial team @michaelguooo @kechuncc @nod_yek
𓇻 Graphic design, as always by @solxus

You will encounter the book at the following book fairs and in bookstores!

Launching our new title this year, te magazine N°4 𝚂𝚙𝚒𝚗𝚊𝚕 𝙼𝚎𝚖𝚘𝚛𝚢 《脊柱记忆》. Orders now available on our website, link in bio!
🦒🦆🐎🐄🐻🦌🐦‍⬛🦜🐅🐈
从支撑生命的脊柱出发，第四期聚焦于对于非人类动物的身体利用与操控，感知与共情。本期的大多数创作者都有着与动物长期相处或持续调研的经验，他们通过观察、教育、绘画、写作与图像等创作方式，去解构既有的“伦理关系”与“秩序”。我们是否可能构建一个相对平等的多物种世界？又是否能够以更为谦卑、内省的方式，重新学习如何与他者共处？第四期并不预设答案，而是邀请读者代入他者的身体，在缓慢的交换中重新打开想象，任由一种尚未被命名的关系在此间生成。

Starting from the spine, the very pillar of life, issue 4 of te magazine focuses on nonhuman animals to explore the manipulation of their bodies alongside themes of perception and empathy. This fourth issue does not offer answers; instead, it comprises reflections and imaginations, as most contributors have long-standing experiences with or ongoing research on animals. Through observation, education, painting, writing, and image-making, they seek to loosen the existing “ethical relationships” and “orderly rules.” Is it possible to envision a relatively equal multispecies world? Can we relearn how to coexist with “the other” through a more humble and introspective lens? Issue 4 offers no definitive answers; instead, it invites readers to inhabit the bodies of others, to feel and acknowledge them. A slow exchange occurs that reopens our imagination and generates a relationship that has yet to be named.

𓇻 Featuring 10 contributions across disciplines.
𓇻 Editorial team @michaelguooo @kechuncc @nod_yek
𓇻 Graphic design, as always by @solxus

You will encounter the book at the following book fairs and in bookstores!

Launching our new title this year, te magazine N°4 𝚂𝚙𝚒𝚗𝚊𝚕 𝙼𝚎𝚖𝚘𝚛𝚢 《脊柱记忆》. Orders now available on our website, link in bio!
🦒🦆🐎🐄🐻🦌🐦‍⬛🦜🐅🐈
从支撑生命的脊柱出发，第四期聚焦于对于非人类动物的身体利用与操控，感知与共情。本期的大多数创作者都有着与动物长期相处或持续调研的经验，他们通过观察、教育、绘画、写作与图像等创作方式，去解构既有的“伦理关系”与“秩序”。我们是否可能构建一个相对平等的多物种世界？又是否能够以更为谦卑、内省的方式，重新学习如何与他者共处？第四期并不预设答案，而是邀请读者代入他者的身体，在缓慢的交换中重新打开想象，任由一种尚未被命名的关系在此间生成。

Starting from the spine, the very pillar of life, issue 4 of te magazine focuses on nonhuman animals to explore the manipulation of their bodies alongside themes of perception and empathy. This fourth issue does not offer answers; instead, it comprises reflections and imaginations, as most contributors have long-standing experiences with or ongoing research on animals. Through observation, education, painting, writing, and image-making, they seek to loosen the existing “ethical relationships” and “orderly rules.” Is it possible to envision a relatively equal multispecies world? Can we relearn how to coexist with “the other” through a more humble and introspective lens? Issue 4 offers no definitive answers; instead, it invites readers to inhabit the bodies of others, to feel and acknowledge them. A slow exchange occurs that reopens our imagination and generates a relationship that has yet to be named.

𓇻 Featuring 10 contributions across disciplines.
𓇻 Editorial team @michaelguooo @kechuncc @nod_yek
𓇻 Graphic design, as always by @solxus

You will encounter the book at the following book fairs and in bookstores!

Launching our new title this year, te magazine N°4 𝚂𝚙𝚒𝚗𝚊𝚕 𝙼𝚎𝚖𝚘𝚛𝚢 《脊柱记忆》. Orders now available on our website, link in bio!
🦒🦆🐎🐄🐻🦌🐦‍⬛🦜🐅🐈
从支撑生命的脊柱出发，第四期聚焦于对于非人类动物的身体利用与操控，感知与共情。本期的大多数创作者都有着与动物长期相处或持续调研的经验，他们通过观察、教育、绘画、写作与图像等创作方式，去解构既有的“伦理关系”与“秩序”。我们是否可能构建一个相对平等的多物种世界？又是否能够以更为谦卑、内省的方式，重新学习如何与他者共处？第四期并不预设答案，而是邀请读者代入他者的身体，在缓慢的交换中重新打开想象，任由一种尚未被命名的关系在此间生成。

Starting from the spine, the very pillar of life, issue 4 of te magazine focuses on nonhuman animals to explore the manipulation of their bodies alongside themes of perception and empathy. This fourth issue does not offer answers; instead, it comprises reflections and imaginations, as most contributors have long-standing experiences with or ongoing research on animals. Through observation, education, painting, writing, and image-making, they seek to loosen the existing “ethical relationships” and “orderly rules.” Is it possible to envision a relatively equal multispecies world? Can we relearn how to coexist with “the other” through a more humble and introspective lens? Issue 4 offers no definitive answers; instead, it invites readers to inhabit the bodies of others, to feel and acknowledge them. A slow exchange occurs that reopens our imagination and generates a relationship that has yet to be named.

𓇻 Featuring 10 contributions across disciplines.
𓇻 Editorial team @michaelguooo @kechuncc @nod_yek
𓇻 Graphic design, as always by @solxus

You will encounter the book at the following book fairs and in bookstores!

Launching our new title this year, te magazine N°4 𝚂𝚙𝚒𝚗𝚊𝚕 𝙼𝚎𝚖𝚘𝚛𝚢 《脊柱记忆》. Orders now available on our website, link in bio!
🦒🦆🐎🐄🐻🦌🐦‍⬛🦜🐅🐈
从支撑生命的脊柱出发，第四期聚焦于对于非人类动物的身体利用与操控，感知与共情。本期的大多数创作者都有着与动物长期相处或持续调研的经验，他们通过观察、教育、绘画、写作与图像等创作方式，去解构既有的“伦理关系”与“秩序”。我们是否可能构建一个相对平等的多物种世界？又是否能够以更为谦卑、内省的方式，重新学习如何与他者共处？第四期并不预设答案，而是邀请读者代入他者的身体，在缓慢的交换中重新打开想象，任由一种尚未被命名的关系在此间生成。

Starting from the spine, the very pillar of life, issue 4 of te magazine focuses on nonhuman animals to explore the manipulation of their bodies alongside themes of perception and empathy. This fourth issue does not offer answers; instead, it comprises reflections and imaginations, as most contributors have long-standing experiences with or ongoing research on animals. Through observation, education, painting, writing, and image-making, they seek to loosen the existing “ethical relationships” and “orderly rules.” Is it possible to envision a relatively equal multispecies world? Can we relearn how to coexist with “the other” through a more humble and introspective lens? Issue 4 offers no definitive answers; instead, it invites readers to inhabit the bodies of others, to feel and acknowledge them. A slow exchange occurs that reopens our imagination and generates a relationship that has yet to be named.

𓇻 Featuring 10 contributions across disciplines.
𓇻 Editorial team @michaelguooo @kechuncc @nod_yek
𓇻 Graphic design, as always by @solxus

You will encounter the book at the following book fairs and in bookstores!

Launching our new title this year, te magazine N°4 𝚂𝚙𝚒𝚗𝚊𝚕 𝙼𝚎𝚖𝚘𝚛𝚢 《脊柱记忆》. Orders now available on our website, link in bio!
🦒🦆🐎🐄🐻🦌🐦‍⬛🦜🐅🐈
从支撑生命的脊柱出发，第四期聚焦于对于非人类动物的身体利用与操控，感知与共情。本期的大多数创作者都有着与动物长期相处或持续调研的经验，他们通过观察、教育、绘画、写作与图像等创作方式，去解构既有的“伦理关系”与“秩序”。我们是否可能构建一个相对平等的多物种世界？又是否能够以更为谦卑、内省的方式，重新学习如何与他者共处？第四期并不预设答案，而是邀请读者代入他者的身体，在缓慢的交换中重新打开想象，任由一种尚未被命名的关系在此间生成。

Starting from the spine, the very pillar of life, issue 4 of te magazine focuses on nonhuman animals to explore the manipulation of their bodies alongside themes of perception and empathy. This fourth issue does not offer answers; instead, it comprises reflections and imaginations, as most contributors have long-standing experiences with or ongoing research on animals. Through observation, education, painting, writing, and image-making, they seek to loosen the existing “ethical relationships” and “orderly rules.” Is it possible to envision a relatively equal multispecies world? Can we relearn how to coexist with “the other” through a more humble and introspective lens? Issue 4 offers no definitive answers; instead, it invites readers to inhabit the bodies of others, to feel and acknowledge them. A slow exchange occurs that reopens our imagination and generates a relationship that has yet to be named.

𓇻 Featuring 10 contributions across disciplines.
𓇻 Editorial team @michaelguooo @kechuncc @nod_yek
𓇻 Graphic design, as always by @solxus

You will encounter the book at the following book fairs and in bookstores!

We’re excited to share that the Typology team will be at the Ghent Art Book Fair (@ghentartbookfair) 2026

🟢Join us at Kunsthal Gent
❇️ @kunsthalgent Langesteenstraat 14, Ghent
✳️ Saturday 9 May – Sunday 10 May 2026
💚 11:00 – 18:00 daily

We’ll be there across both days with our work and publications. Drop in if you’re around.

We’re excited to share that the Typology team will be at the Ghent Art Book Fair (@ghentartbookfair) 2026

🟢Join us at Kunsthal Gent
❇️ @kunsthalgent Langesteenstraat 14, Ghent
✳️ Saturday 9 May – Sunday 10 May 2026
💚 11:00 – 18:00 daily

We’ll be there across both days with our work and publications. Drop in if you’re around.

We’re excited to share that the Typology team will be at the Ghent Art Book Fair (@ghentartbookfair) 2026

🟢Join us at Kunsthal Gent
❇️ @kunsthalgent Langesteenstraat 14, Ghent
✳️ Saturday 9 May – Sunday 10 May 2026
💚 11:00 – 18:00 daily

We’ll be there across both days with our work and publications. Drop in if you’re around.

We’re excited to share that the Typology team will be at the Ghent Art Book Fair (@ghentartbookfair) 2026

🟢Join us at Kunsthal Gent
❇️ @kunsthalgent Langesteenstraat 14, Ghent
✳️ Saturday 9 May – Sunday 10 May 2026
💚 11:00 – 18:00 daily

We’ll be there across both days with our work and publications. Drop in if you’re around.

We’re excited to share that the Typology team will be at the Ghent Art Book Fair (@ghentartbookfair) 2026

🟢Join us at Kunsthal Gent
❇️ @kunsthalgent Langesteenstraat 14, Ghent
✳️ Saturday 9 May – Sunday 10 May 2026
💚 11:00 – 18:00 daily

We’ll be there across both days with our work and publications. Drop in if you’re around.

We’re excited to share that the Typology team will be at the Ghent Art Book Fair (@ghentartbookfair) 2026

🟢Join us at Kunsthal Gent
❇️ @kunsthalgent Langesteenstraat 14, Ghent
✳️ Saturday 9 May – Sunday 10 May 2026
💚 11:00 – 18:00 daily

We’ll be there across both days with our work and publications. Drop in if you’re around.

We’re excited to share that the Typology team will be at the Ghent Art Book Fair (@ghentartbookfair) 2026

🟢Join us at Kunsthal Gent
❇️ @kunsthalgent Langesteenstraat 14, Ghent
✳️ Saturday 9 May – Sunday 10 May 2026
💚 11:00 – 18:00 daily

We’ll be there across both days with our work and publications. Drop in if you’re around.

We’re excited to share that the Typology team will be at the Ghent Art Book Fair (@ghentartbookfair) 2026

🟢Join us at Kunsthal Gent
❇️ @kunsthalgent Langesteenstraat 14, Ghent
✳️ Saturday 9 May – Sunday 10 May 2026
💚 11:00 – 18:00 daily

We’ll be there across both days with our work and publications. Drop in if you’re around.

We’re excited to share that the Typology team will be at the Ghent Art Book Fair (@ghentartbookfair) 2026

🟢Join us at Kunsthal Gent
❇️ @kunsthalgent Langesteenstraat 14, Ghent
✳️ Saturday 9 May – Sunday 10 May 2026
💚 11:00 – 18:00 daily

We’ll be there across both days with our work and publications. Drop in if you’re around.

We’re excited to share that the Typology team will be at the Ghent Art Book Fair (@ghentartbookfair) 2026

🟢Join us at Kunsthal Gent
❇️ @kunsthalgent Langesteenstraat 14, Ghent
✳️ Saturday 9 May – Sunday 10 May 2026
💚 11:00 – 18:00 daily

We’ll be there across both days with our work and publications. Drop in if you’re around.

📠 印刷進行中 ！
→ te magazine N°4 Spinal Memory is in the printing process; paper is folding. 📑📑
Publication designed by @solxus. p1, 3 comes from @milkmaneggg

Copies will be ready in the following art book fairs, stay tuned!

📠 印刷進行中 ！
→ te magazine N°4 Spinal Memory is in the printing process; paper is folding. 📑📑
Publication designed by @solxus. p1, 3 comes from @milkmaneggg

Copies will be ready in the following art book fairs, stay tuned!

📠 印刷進行中 ！
→ te magazine N°4 Spinal Memory is in the printing process; paper is folding. 📑📑
Publication designed by @solxus. p1, 3 comes from @milkmaneggg

Copies will be ready in the following art book fairs, stay tuned!

📠 印刷進行中 ！
→ te magazine N°4 Spinal Memory is in the printing process; paper is folding. 📑📑
Publication designed by @solxus. p1, 3 comes from @milkmaneggg

Copies will be ready in the following art book fairs, stay tuned!

📠 印刷進行中 ！
→ te magazine N°4 Spinal Memory is in the printing process; paper is folding. 📑📑
Publication designed by @solxus. p1, 3 comes from @milkmaneggg

Copies will be ready in the following art book fairs, stay tuned!

📠 印刷進行中 ！
→ te magazine N°4 Spinal Memory is in the printing process; paper is folding. 📑📑
Publication designed by @solxus. p1, 3 comes from @milkmaneggg

Copies will be ready in the following art book fairs, stay tuned!

Three days with full hearts at Outland Publishing Fair with the Typology team. Thank you to everyone who came with curiosity for our work, joined the conversations, made with us in the workshops, and spent time with our books📚

Three days with full hearts at Outland Publishing Fair with the Typology team. Thank you to everyone who came with curiosity for our work, joined the conversations, made with us in the workshops, and spent time with our books📚

Three days with full hearts at Outland Publishing Fair with the Typology team. Thank you to everyone who came with curiosity for our work, joined the conversations, made with us in the workshops, and spent time with our books📚

Three days with full hearts at Outland Publishing Fair with the Typology team. Thank you to everyone who came with curiosity for our work, joined the conversations, made with us in the workshops, and spent time with our books📚

Three days with full hearts at Outland Publishing Fair with the Typology team. Thank you to everyone who came with curiosity for our work, joined the conversations, made with us in the workshops, and spent time with our books📚

Three days with full hearts at Outland Publishing Fair with the Typology team. Thank you to everyone who came with curiosity for our work, joined the conversations, made with us in the workshops, and spent time with our books📚

Three days with full hearts at Outland Publishing Fair with the Typology team. Thank you to everyone who came with curiosity for our work, joined the conversations, made with us in the workshops, and spent time with our books📚

Three days with full hearts at Outland Publishing Fair with the Typology team. Thank you to everyone who came with curiosity for our work, joined the conversations, made with us in the workshops, and spent time with our books📚

Three days with full hearts at Outland Publishing Fair with the Typology team. Thank you to everyone who came with curiosity for our work, joined the conversations, made with us in the workshops, and spent time with our books📚

Three days with full hearts at Outland Publishing Fair with the Typology team. Thank you to everyone who came with curiosity for our work, joined the conversations, made with us in the workshops, and spent time with our books📚

Three days with full hearts at Outland Publishing Fair with the Typology team. Thank you to everyone who came with curiosity for our work, joined the conversations, made with us in the workshops, and spent time with our books📚

Three days with full hearts at Outland Publishing Fair with the Typology team. Thank you to everyone who came with curiosity for our work, joined the conversations, made with us in the workshops, and spent time with our books📚

Very pleased to share a new publication developed with Jwllrs, tracing the echoes of their 𝚂𝙴𝙴𝙳 event in Morecambe last year.

As fragments assembled from smartphone images, often taken under Jwllrs’ 10x zoom instruction, the publication follows a kind of peripheral vision. I stayed close to the backstage of preparation, moving between the kitchen and the event with the artists, where processes of cooking, sourcing, and sharing became inseparable from the work itself.

Spending time within these moments offered a way of learning through ingredients, gestures, and conversations shaped by each artist’s practice and relationship to food and place. The event extended into discussions during and after the day, including a workshop hosted with Amy @a.c.dickson , we returned to these moments through spiral-timelines of food, compost, labour and value, tracing migrations and the lingering paths food leaves behind.

As a publication, it reflects my ongoing interest in how singular, indexical images can be reconfigured into spatio-temporal narratives. Screenshots, details and statistical nouns sit alongside one another, forming shifting relations, an unfinished catalogue that resists fixing the event in place, instead allowing it to continue becoming.

𝚂𝙴𝙴𝙳
The book brings together a five-course research evening of food-based performances by Abigail Hampsey @abihampsey, Alistair Debling @aadebling, Jamie Jenkinson @jamie_jenkinson_ , Nandal Seo @nandal_seo and On Yee Lo @triplegluten, conceived as a catalyst for future food and art collaborations, and for thinking sustainability within the Morecambe Bay region.

Designed by Can Yang for @jwllrs_ .

The publication will soon be available to view, purchase, and enquire about through Jwllrs, and will also be presented at Outland Book Fair (17–19 April). 💌

Very pleased to share a new publication developed with Jwllrs, tracing the echoes of their 𝚂𝙴𝙴𝙳 event in Morecambe last year.

As fragments assembled from smartphone images, often taken under Jwllrs’ 10x zoom instruction, the publication follows a kind of peripheral vision. I stayed close to the backstage of preparation, moving between the kitchen and the event with the artists, where processes of cooking, sourcing, and sharing became inseparable from the work itself.

Spending time within these moments offered a way of learning through ingredients, gestures, and conversations shaped by each artist’s practice and relationship to food and place. The event extended into discussions during and after the day, including a workshop hosted with Amy @a.c.dickson , we returned to these moments through spiral-timelines of food, compost, labour and value, tracing migrations and the lingering paths food leaves behind.

As a publication, it reflects my ongoing interest in how singular, indexical images can be reconfigured into spatio-temporal narratives. Screenshots, details and statistical nouns sit alongside one another, forming shifting relations, an unfinished catalogue that resists fixing the event in place, instead allowing it to continue becoming.

𝚂𝙴𝙴𝙳
The book brings together a five-course research evening of food-based performances by Abigail Hampsey @abihampsey, Alistair Debling @aadebling, Jamie Jenkinson @jamie_jenkinson_ , Nandal Seo @nandal_seo and On Yee Lo @triplegluten, conceived as a catalyst for future food and art collaborations, and for thinking sustainability within the Morecambe Bay region.

Designed by Can Yang for @jwllrs_ .

The publication will soon be available to view, purchase, and enquire about through Jwllrs, and will also be presented at Outland Book Fair (17–19 April). 💌

Very pleased to share a new publication developed with Jwllrs, tracing the echoes of their 𝚂𝙴𝙴𝙳 event in Morecambe last year.

As fragments assembled from smartphone images, often taken under Jwllrs’ 10x zoom instruction, the publication follows a kind of peripheral vision. I stayed close to the backstage of preparation, moving between the kitchen and the event with the artists, where processes of cooking, sourcing, and sharing became inseparable from the work itself.

Spending time within these moments offered a way of learning through ingredients, gestures, and conversations shaped by each artist’s practice and relationship to food and place. The event extended into discussions during and after the day, including a workshop hosted with Amy @a.c.dickson , we returned to these moments through spiral-timelines of food, compost, labour and value, tracing migrations and the lingering paths food leaves behind.

As a publication, it reflects my ongoing interest in how singular, indexical images can be reconfigured into spatio-temporal narratives. Screenshots, details and statistical nouns sit alongside one another, forming shifting relations, an unfinished catalogue that resists fixing the event in place, instead allowing it to continue becoming.

𝚂𝙴𝙴𝙳
The book brings together a five-course research evening of food-based performances by Abigail Hampsey @abihampsey, Alistair Debling @aadebling, Jamie Jenkinson @jamie_jenkinson_ , Nandal Seo @nandal_seo and On Yee Lo @triplegluten, conceived as a catalyst for future food and art collaborations, and for thinking sustainability within the Morecambe Bay region.

Designed by Can Yang for @jwllrs_ .

The publication will soon be available to view, purchase, and enquire about through Jwllrs, and will also be presented at Outland Book Fair (17–19 April). 💌

Very pleased to share a new publication developed with Jwllrs, tracing the echoes of their 𝚂𝙴𝙴𝙳 event in Morecambe last year.

As fragments assembled from smartphone images, often taken under Jwllrs’ 10x zoom instruction, the publication follows a kind of peripheral vision. I stayed close to the backstage of preparation, moving between the kitchen and the event with the artists, where processes of cooking, sourcing, and sharing became inseparable from the work itself.

Spending time within these moments offered a way of learning through ingredients, gestures, and conversations shaped by each artist’s practice and relationship to food and place. The event extended into discussions during and after the day, including a workshop hosted with Amy @a.c.dickson , we returned to these moments through spiral-timelines of food, compost, labour and value, tracing migrations and the lingering paths food leaves behind.

As a publication, it reflects my ongoing interest in how singular, indexical images can be reconfigured into spatio-temporal narratives. Screenshots, details and statistical nouns sit alongside one another, forming shifting relations, an unfinished catalogue that resists fixing the event in place, instead allowing it to continue becoming.

𝚂𝙴𝙴𝙳
The book brings together a five-course research evening of food-based performances by Abigail Hampsey @abihampsey, Alistair Debling @aadebling, Jamie Jenkinson @jamie_jenkinson_ , Nandal Seo @nandal_seo and On Yee Lo @triplegluten, conceived as a catalyst for future food and art collaborations, and for thinking sustainability within the Morecambe Bay region.

Designed by Can Yang for @jwllrs_ .

The publication will soon be available to view, purchase, and enquire about through Jwllrs, and will also be presented at Outland Book Fair (17–19 April). 💌

Very pleased to share a new publication developed with Jwllrs, tracing the echoes of their 𝚂𝙴𝙴𝙳 event in Morecambe last year.

As fragments assembled from smartphone images, often taken under Jwllrs’ 10x zoom instruction, the publication follows a kind of peripheral vision. I stayed close to the backstage of preparation, moving between the kitchen and the event with the artists, where processes of cooking, sourcing, and sharing became inseparable from the work itself.

Spending time within these moments offered a way of learning through ingredients, gestures, and conversations shaped by each artist’s practice and relationship to food and place. The event extended into discussions during and after the day, including a workshop hosted with Amy @a.c.dickson , we returned to these moments through spiral-timelines of food, compost, labour and value, tracing migrations and the lingering paths food leaves behind.

As a publication, it reflects my ongoing interest in how singular, indexical images can be reconfigured into spatio-temporal narratives. Screenshots, details and statistical nouns sit alongside one another, forming shifting relations, an unfinished catalogue that resists fixing the event in place, instead allowing it to continue becoming.

𝚂𝙴𝙴𝙳
The book brings together a five-course research evening of food-based performances by Abigail Hampsey @abihampsey, Alistair Debling @aadebling, Jamie Jenkinson @jamie_jenkinson_ , Nandal Seo @nandal_seo and On Yee Lo @triplegluten, conceived as a catalyst for future food and art collaborations, and for thinking sustainability within the Morecambe Bay region.

Designed by Can Yang for @jwllrs_ .

The publication will soon be available to view, purchase, and enquire about through Jwllrs, and will also be presented at Outland Book Fair (17–19 April). 💌

Very pleased to share a new publication developed with Jwllrs, tracing the echoes of their 𝚂𝙴𝙴𝙳 event in Morecambe last year.

As fragments assembled from smartphone images, often taken under Jwllrs’ 10x zoom instruction, the publication follows a kind of peripheral vision. I stayed close to the backstage of preparation, moving between the kitchen and the event with the artists, where processes of cooking, sourcing, and sharing became inseparable from the work itself.

Spending time within these moments offered a way of learning through ingredients, gestures, and conversations shaped by each artist’s practice and relationship to food and place. The event extended into discussions during and after the day, including a workshop hosted with Amy @a.c.dickson , we returned to these moments through spiral-timelines of food, compost, labour and value, tracing migrations and the lingering paths food leaves behind.

As a publication, it reflects my ongoing interest in how singular, indexical images can be reconfigured into spatio-temporal narratives. Screenshots, details and statistical nouns sit alongside one another, forming shifting relations, an unfinished catalogue that resists fixing the event in place, instead allowing it to continue becoming.

𝚂𝙴𝙴𝙳
The book brings together a five-course research evening of food-based performances by Abigail Hampsey @abihampsey, Alistair Debling @aadebling, Jamie Jenkinson @jamie_jenkinson_ , Nandal Seo @nandal_seo and On Yee Lo @triplegluten, conceived as a catalyst for future food and art collaborations, and for thinking sustainability within the Morecambe Bay region.

Designed by Can Yang for @jwllrs_ .

The publication will soon be available to view, purchase, and enquire about through Jwllrs, and will also be presented at Outland Book Fair (17–19 April). 💌

Very pleased to share a new publication developed with Jwllrs, tracing the echoes of their 𝚂𝙴𝙴𝙳 event in Morecambe last year.

As fragments assembled from smartphone images, often taken under Jwllrs’ 10x zoom instruction, the publication follows a kind of peripheral vision. I stayed close to the backstage of preparation, moving between the kitchen and the event with the artists, where processes of cooking, sourcing, and sharing became inseparable from the work itself.

Spending time within these moments offered a way of learning through ingredients, gestures, and conversations shaped by each artist’s practice and relationship to food and place. The event extended into discussions during and after the day, including a workshop hosted with Amy @a.c.dickson , we returned to these moments through spiral-timelines of food, compost, labour and value, tracing migrations and the lingering paths food leaves behind.

As a publication, it reflects my ongoing interest in how singular, indexical images can be reconfigured into spatio-temporal narratives. Screenshots, details and statistical nouns sit alongside one another, forming shifting relations, an unfinished catalogue that resists fixing the event in place, instead allowing it to continue becoming.

𝚂𝙴𝙴𝙳
The book brings together a five-course research evening of food-based performances by Abigail Hampsey @abihampsey, Alistair Debling @aadebling, Jamie Jenkinson @jamie_jenkinson_ , Nandal Seo @nandal_seo and On Yee Lo @triplegluten, conceived as a catalyst for future food and art collaborations, and for thinking sustainability within the Morecambe Bay region.

Designed by Can Yang for @jwllrs_ .

The publication will soon be available to view, purchase, and enquire about through Jwllrs, and will also be presented at Outland Book Fair (17–19 April). 💌

Very pleased to share a new publication developed with Jwllrs, tracing the echoes of their 𝚂𝙴𝙴𝙳 event in Morecambe last year.

As fragments assembled from smartphone images, often taken under Jwllrs’ 10x zoom instruction, the publication follows a kind of peripheral vision. I stayed close to the backstage of preparation, moving between the kitchen and the event with the artists, where processes of cooking, sourcing, and sharing became inseparable from the work itself.

Spending time within these moments offered a way of learning through ingredients, gestures, and conversations shaped by each artist’s practice and relationship to food and place. The event extended into discussions during and after the day, including a workshop hosted with Amy @a.c.dickson , we returned to these moments through spiral-timelines of food, compost, labour and value, tracing migrations and the lingering paths food leaves behind.

As a publication, it reflects my ongoing interest in how singular, indexical images can be reconfigured into spatio-temporal narratives. Screenshots, details and statistical nouns sit alongside one another, forming shifting relations, an unfinished catalogue that resists fixing the event in place, instead allowing it to continue becoming.

𝚂𝙴𝙴𝙳
The book brings together a five-course research evening of food-based performances by Abigail Hampsey @abihampsey, Alistair Debling @aadebling, Jamie Jenkinson @jamie_jenkinson_ , Nandal Seo @nandal_seo and On Yee Lo @triplegluten, conceived as a catalyst for future food and art collaborations, and for thinking sustainability within the Morecambe Bay region.

Designed by Can Yang for @jwllrs_ .

The publication will soon be available to view, purchase, and enquire about through Jwllrs, and will also be presented at Outland Book Fair (17–19 April). 💌

Very pleased to share a new publication developed with Jwllrs, tracing the echoes of their 𝚂𝙴𝙴𝙳 event in Morecambe last year.

As fragments assembled from smartphone images, often taken under Jwllrs’ 10x zoom instruction, the publication follows a kind of peripheral vision. I stayed close to the backstage of preparation, moving between the kitchen and the event with the artists, where processes of cooking, sourcing, and sharing became inseparable from the work itself.

Spending time within these moments offered a way of learning through ingredients, gestures, and conversations shaped by each artist’s practice and relationship to food and place. The event extended into discussions during and after the day, including a workshop hosted with Amy @a.c.dickson , we returned to these moments through spiral-timelines of food, compost, labour and value, tracing migrations and the lingering paths food leaves behind.

As a publication, it reflects my ongoing interest in how singular, indexical images can be reconfigured into spatio-temporal narratives. Screenshots, details and statistical nouns sit alongside one another, forming shifting relations, an unfinished catalogue that resists fixing the event in place, instead allowing it to continue becoming.

𝚂𝙴𝙴𝙳
The book brings together a five-course research evening of food-based performances by Abigail Hampsey @abihampsey, Alistair Debling @aadebling, Jamie Jenkinson @jamie_jenkinson_ , Nandal Seo @nandal_seo and On Yee Lo @triplegluten, conceived as a catalyst for future food and art collaborations, and for thinking sustainability within the Morecambe Bay region.

Designed by Can Yang for @jwllrs_ .

The publication will soon be available to view, purchase, and enquire about through Jwllrs, and will also be presented at Outland Book Fair (17–19 April). 💌

Very pleased to share a new publication developed with Jwllrs, tracing the echoes of their 𝚂𝙴𝙴𝙳 event in Morecambe last year.

As fragments assembled from smartphone images, often taken under Jwllrs’ 10x zoom instruction, the publication follows a kind of peripheral vision. I stayed close to the backstage of preparation, moving between the kitchen and the event with the artists, where processes of cooking, sourcing, and sharing became inseparable from the work itself.

Spending time within these moments offered a way of learning through ingredients, gestures, and conversations shaped by each artist’s practice and relationship to food and place. The event extended into discussions during and after the day, including a workshop hosted with Amy @a.c.dickson , we returned to these moments through spiral-timelines of food, compost, labour and value, tracing migrations and the lingering paths food leaves behind.

As a publication, it reflects my ongoing interest in how singular, indexical images can be reconfigured into spatio-temporal narratives. Screenshots, details and statistical nouns sit alongside one another, forming shifting relations, an unfinished catalogue that resists fixing the event in place, instead allowing it to continue becoming.

𝚂𝙴𝙴𝙳
The book brings together a five-course research evening of food-based performances by Abigail Hampsey @abihampsey, Alistair Debling @aadebling, Jamie Jenkinson @jamie_jenkinson_ , Nandal Seo @nandal_seo and On Yee Lo @triplegluten, conceived as a catalyst for future food and art collaborations, and for thinking sustainability within the Morecambe Bay region.

Designed by Can Yang for @jwllrs_ .

The publication will soon be available to view, purchase, and enquire about through Jwllrs, and will also be presented at Outland Book Fair (17–19 April). 💌

Very pleased to share a new publication developed with Jwllrs, tracing the echoes of their 𝚂𝙴𝙴𝙳 event in Morecambe last year.

As fragments assembled from smartphone images, often taken under Jwllrs’ 10x zoom instruction, the publication follows a kind of peripheral vision. I stayed close to the backstage of preparation, moving between the kitchen and the event with the artists, where processes of cooking, sourcing, and sharing became inseparable from the work itself.

Spending time within these moments offered a way of learning through ingredients, gestures, and conversations shaped by each artist’s practice and relationship to food and place. The event extended into discussions during and after the day, including a workshop hosted with Amy @a.c.dickson , we returned to these moments through spiral-timelines of food, compost, labour and value, tracing migrations and the lingering paths food leaves behind.

As a publication, it reflects my ongoing interest in how singular, indexical images can be reconfigured into spatio-temporal narratives. Screenshots, details and statistical nouns sit alongside one another, forming shifting relations, an unfinished catalogue that resists fixing the event in place, instead allowing it to continue becoming.

𝚂𝙴𝙴𝙳
The book brings together a five-course research evening of food-based performances by Abigail Hampsey @abihampsey, Alistair Debling @aadebling, Jamie Jenkinson @jamie_jenkinson_ , Nandal Seo @nandal_seo and On Yee Lo @triplegluten, conceived as a catalyst for future food and art collaborations, and for thinking sustainability within the Morecambe Bay region.

Designed by Can Yang for @jwllrs_ .

The publication will soon be available to view, purchase, and enquire about through Jwllrs, and will also be presented at Outland Book Fair (17–19 April). 💌

Very pleased to share a new publication developed with Jwllrs, tracing the echoes of their 𝚂𝙴𝙴𝙳 event in Morecambe last year.

As fragments assembled from smartphone images, often taken under Jwllrs’ 10x zoom instruction, the publication follows a kind of peripheral vision. I stayed close to the backstage of preparation, moving between the kitchen and the event with the artists, where processes of cooking, sourcing, and sharing became inseparable from the work itself.

Spending time within these moments offered a way of learning through ingredients, gestures, and conversations shaped by each artist’s practice and relationship to food and place. The event extended into discussions during and after the day, including a workshop hosted with Amy @a.c.dickson , we returned to these moments through spiral-timelines of food, compost, labour and value, tracing migrations and the lingering paths food leaves behind.

As a publication, it reflects my ongoing interest in how singular, indexical images can be reconfigured into spatio-temporal narratives. Screenshots, details and statistical nouns sit alongside one another, forming shifting relations, an unfinished catalogue that resists fixing the event in place, instead allowing it to continue becoming.

𝚂𝙴𝙴𝙳
The book brings together a five-course research evening of food-based performances by Abigail Hampsey @abihampsey, Alistair Debling @aadebling, Jamie Jenkinson @jamie_jenkinson_ , Nandal Seo @nandal_seo and On Yee Lo @triplegluten, conceived as a catalyst for future food and art collaborations, and for thinking sustainability within the Morecambe Bay region.

Designed by Can Yang for @jwllrs_ .

The publication will soon be available to view, purchase, and enquire about through Jwllrs, and will also be presented at Outland Book Fair (17–19 April). 💌

✶TYPOLOGY AT OUTLAND PUBLISHING FAIR✶
̲1̲̲7̲–̲1̲̲9̲ ̲A̲̲P̲̲R̲̲I̲̲L̲
Friday 14:00–19:00
Saturday–Sunday 11:00–18:00

C̲̲o̲̲p̲̲e̲̲l̲a̲̲n̲̲d̲ ̲G̲a̲̲l̲̲l̲̲e̲̲r̲̲y̲
133 Copeland Road, London SE15 3SN

Typology is a group within MA Visual Communication @rcavisaulcomm at the Royal College of Art, bringing together designers, artists, and researchers interested in how systems and languages shape the way we see and communicate. Through print, type, and material experiments, we explore classification, repetition, and the many ways meaning can be constructed and reinterpreted.

Works Featured in this post:
Anna Korbel / Anshika Chirania / Arianna Ebanks / Boogeun Park / Casey Yang / Chi Hou Wong / Domin Bae / Elina Resch / Elise Chapman / Georgia Montague / Guy Ahouvi / Janice Park / Jiayu Zhou / Lym Lim / Shengliang Liu / Sofie Brydlova / Tengjiao Sun / Wenjing Shi / Yangu Li / Yashashree Arawkar / Zhe Xiao / Zongyao Ma / Tianni Xie
@outlandpublishingfair @copelandparkse

Come by, browse our publications, and spend some time with us.

✶TYPOLOGY AT OUTLAND PUBLISHING FAIR✶
̲1̲̲7̲–̲1̲̲9̲ ̲A̲̲P̲̲R̲̲I̲̲L̲
Friday 14:00–19:00
Saturday–Sunday 11:00–18:00

C̲̲o̲̲p̲̲e̲̲l̲a̲̲n̲̲d̲ ̲G̲a̲̲l̲̲l̲̲e̲̲r̲̲y̲
133 Copeland Road, London SE15 3SN

Typology is a group within MA Visual Communication @rcavisaulcomm at the Royal College of Art, bringing together designers, artists, and researchers interested in how systems and languages shape the way we see and communicate. Through print, type, and material experiments, we explore classification, repetition, and the many ways meaning can be constructed and reinterpreted.

Works Featured in this post:
Anna Korbel / Anshika Chirania / Arianna Ebanks / Boogeun Park / Casey Yang / Chi Hou Wong / Domin Bae / Elina Resch / Elise Chapman / Georgia Montague / Guy Ahouvi / Janice Park / Jiayu Zhou / Lym Lim / Shengliang Liu / Sofie Brydlova / Tengjiao Sun / Wenjing Shi / Yangu Li / Yashashree Arawkar / Zhe Xiao / Zongyao Ma / Tianni Xie
@outlandpublishingfair @copelandparkse

Come by, browse our publications, and spend some time with us.

✶TYPOLOGY AT OUTLAND PUBLISHING FAIR✶
̲1̲̲7̲–̲1̲̲9̲ ̲A̲̲P̲̲R̲̲I̲̲L̲
Friday 14:00–19:00
Saturday–Sunday 11:00–18:00

C̲̲o̲̲p̲̲e̲̲l̲a̲̲n̲̲d̲ ̲G̲a̲̲l̲̲l̲̲e̲̲r̲̲y̲
133 Copeland Road, London SE15 3SN

Typology is a group within MA Visual Communication @rcavisaulcomm at the Royal College of Art, bringing together designers, artists, and researchers interested in how systems and languages shape the way we see and communicate. Through print, type, and material experiments, we explore classification, repetition, and the many ways meaning can be constructed and reinterpreted.

Works Featured in this post:
Anna Korbel / Anshika Chirania / Arianna Ebanks / Boogeun Park / Casey Yang / Chi Hou Wong / Domin Bae / Elina Resch / Elise Chapman / Georgia Montague / Guy Ahouvi / Janice Park / Jiayu Zhou / Lym Lim / Shengliang Liu / Sofie Brydlova / Tengjiao Sun / Wenjing Shi / Yangu Li / Yashashree Arawkar / Zhe Xiao / Zongyao Ma / Tianni Xie
@outlandpublishingfair @copelandparkse

Come by, browse our publications, and spend some time with us.

✶TYPOLOGY AT OUTLAND PUBLISHING FAIR✶
̲1̲̲7̲–̲1̲̲9̲ ̲A̲̲P̲̲R̲̲I̲̲L̲
Friday 14:00–19:00
Saturday–Sunday 11:00–18:00

C̲̲o̲̲p̲̲e̲̲l̲a̲̲n̲̲d̲ ̲G̲a̲̲l̲̲l̲̲e̲̲r̲̲y̲
133 Copeland Road, London SE15 3SN

Typology is a group within MA Visual Communication @rcavisaulcomm at the Royal College of Art, bringing together designers, artists, and researchers interested in how systems and languages shape the way we see and communicate. Through print, type, and material experiments, we explore classification, repetition, and the many ways meaning can be constructed and reinterpreted.

Works Featured in this post:
Anna Korbel / Anshika Chirania / Arianna Ebanks / Boogeun Park / Casey Yang / Chi Hou Wong / Domin Bae / Elina Resch / Elise Chapman / Georgia Montague / Guy Ahouvi / Janice Park / Jiayu Zhou / Lym Lim / Shengliang Liu / Sofie Brydlova / Tengjiao Sun / Wenjing Shi / Yangu Li / Yashashree Arawkar / Zhe Xiao / Zongyao Ma / Tianni Xie
@outlandpublishingfair @copelandparkse

Come by, browse our publications, and spend some time with us.

✶TYPOLOGY AT OUTLAND PUBLISHING FAIR✶
̲1̲̲7̲–̲1̲̲9̲ ̲A̲̲P̲̲R̲̲I̲̲L̲
Friday 14:00–19:00
Saturday–Sunday 11:00–18:00

C̲̲o̲̲p̲̲e̲̲l̲a̲̲n̲̲d̲ ̲G̲a̲̲l̲̲l̲̲e̲̲r̲̲y̲
133 Copeland Road, London SE15 3SN

Typology is a group within MA Visual Communication @rcavisaulcomm at the Royal College of Art, bringing together designers, artists, and researchers interested in how systems and languages shape the way we see and communicate. Through print, type, and material experiments, we explore classification, repetition, and the many ways meaning can be constructed and reinterpreted.

Works Featured in this post:
Anna Korbel / Anshika Chirania / Arianna Ebanks / Boogeun Park / Casey Yang / Chi Hou Wong / Domin Bae / Elina Resch / Elise Chapman / Georgia Montague / Guy Ahouvi / Janice Park / Jiayu Zhou / Lym Lim / Shengliang Liu / Sofie Brydlova / Tengjiao Sun / Wenjing Shi / Yangu Li / Yashashree Arawkar / Zhe Xiao / Zongyao Ma / Tianni Xie
@outlandpublishingfair @copelandparkse

Come by, browse our publications, and spend some time with us.

✶TYPOLOGY AT OUTLAND PUBLISHING FAIR✶
̲1̲̲7̲–̲1̲̲9̲ ̲A̲̲P̲̲R̲̲I̲̲L̲
Friday 14:00–19:00
Saturday–Sunday 11:00–18:00

C̲̲o̲̲p̲̲e̲̲l̲a̲̲n̲̲d̲ ̲G̲a̲̲l̲̲l̲̲e̲̲r̲̲y̲
133 Copeland Road, London SE15 3SN

Typology is a group within MA Visual Communication @rcavisaulcomm at the Royal College of Art, bringing together designers, artists, and researchers interested in how systems and languages shape the way we see and communicate. Through print, type, and material experiments, we explore classification, repetition, and the many ways meaning can be constructed and reinterpreted.

Works Featured in this post:
Anna Korbel / Anshika Chirania / Arianna Ebanks / Boogeun Park / Casey Yang / Chi Hou Wong / Domin Bae / Elina Resch / Elise Chapman / Georgia Montague / Guy Ahouvi / Janice Park / Jiayu Zhou / Lym Lim / Shengliang Liu / Sofie Brydlova / Tengjiao Sun / Wenjing Shi / Yangu Li / Yashashree Arawkar / Zhe Xiao / Zongyao Ma / Tianni Xie
@outlandpublishingfair @copelandparkse

Come by, browse our publications, and spend some time with us.

✶TYPOLOGY AT OUTLAND PUBLISHING FAIR✶
̲1̲̲7̲–̲1̲̲9̲ ̲A̲̲P̲̲R̲̲I̲̲L̲
Friday 14:00–19:00
Saturday–Sunday 11:00–18:00

C̲̲o̲̲p̲̲e̲̲l̲a̲̲n̲̲d̲ ̲G̲a̲̲l̲̲l̲̲e̲̲r̲̲y̲
133 Copeland Road, London SE15 3SN

Typology is a group within MA Visual Communication @rcavisaulcomm at the Royal College of Art, bringing together designers, artists, and researchers interested in how systems and languages shape the way we see and communicate. Through print, type, and material experiments, we explore classification, repetition, and the many ways meaning can be constructed and reinterpreted.

Works Featured in this post:
Anna Korbel / Anshika Chirania / Arianna Ebanks / Boogeun Park / Casey Yang / Chi Hou Wong / Domin Bae / Elina Resch / Elise Chapman / Georgia Montague / Guy Ahouvi / Janice Park / Jiayu Zhou / Lym Lim / Shengliang Liu / Sofie Brydlova / Tengjiao Sun / Wenjing Shi / Yangu Li / Yashashree Arawkar / Zhe Xiao / Zongyao Ma / Tianni Xie
@outlandpublishingfair @copelandparkse

Come by, browse our publications, and spend some time with us.

A Poster (2026), a slideshow essay at LCC.
This work looks at posters as they appear in everyday public spaces. The camera treats them not as finished designs but as elements shaped by context, repetition, and wear, leaving behind traces of public life.

With gratitude to the generous audience from @fhpotsdam.design and @gmdlcc. Video documentation by amazing @lewin_harnisch

If you recognise a poster you designed, or know who should be credited, please comment with the slide number [x/40] and share the intention behind the message. x

Throwback to a workshop at @commonimprint, returning to thoughts that still excite me, and to questions that continue to surface through zine-making.
An open call, a gathering of gestures, practices, and shared curiosities. Various experiences were translated into printed and physical forms, held, passed on, and re-encountered. The space became a temporary case of collective bodies, gathered through shared interests in self-publishing, zine making, and alternative modes of dissemination. A moment to think through how experiences move across bodies, formats, and publics, and how publishing can operate as an act of care, attention, and cooperation.
Grateful to @scarlettxmeng and @o.sam.kim for making this possible, to @nanaji.haeun.na and @haeyoonchi for the beautiful documentation, and to everyone who contributed their time, gestures, and ways of working.

Throwback to a workshop at @commonimprint, returning to thoughts that still excite me, and to questions that continue to surface through zine-making.
An open call, a gathering of gestures, practices, and shared curiosities. Various experiences were translated into printed and physical forms, held, passed on, and re-encountered. The space became a temporary case of collective bodies, gathered through shared interests in self-publishing, zine making, and alternative modes of dissemination. A moment to think through how experiences move across bodies, formats, and publics, and how publishing can operate as an act of care, attention, and cooperation.
Grateful to @scarlettxmeng and @o.sam.kim for making this possible, to @nanaji.haeun.na and @haeyoonchi for the beautiful documentation, and to everyone who contributed their time, gestures, and ways of working.

Throwback to a workshop at @commonimprint, returning to thoughts that still excite me, and to questions that continue to surface through zine-making.
An open call, a gathering of gestures, practices, and shared curiosities. Various experiences were translated into printed and physical forms, held, passed on, and re-encountered. The space became a temporary case of collective bodies, gathered through shared interests in self-publishing, zine making, and alternative modes of dissemination. A moment to think through how experiences move across bodies, formats, and publics, and how publishing can operate as an act of care, attention, and cooperation.
Grateful to @scarlettxmeng and @o.sam.kim for making this possible, to @nanaji.haeun.na and @haeyoonchi for the beautiful documentation, and to everyone who contributed their time, gestures, and ways of working.

Throwback to a workshop at @commonimprint, returning to thoughts that still excite me, and to questions that continue to surface through zine-making.
An open call, a gathering of gestures, practices, and shared curiosities. Various experiences were translated into printed and physical forms, held, passed on, and re-encountered. The space became a temporary case of collective bodies, gathered through shared interests in self-publishing, zine making, and alternative modes of dissemination. A moment to think through how experiences move across bodies, formats, and publics, and how publishing can operate as an act of care, attention, and cooperation.
Grateful to @scarlettxmeng and @o.sam.kim for making this possible, to @nanaji.haeun.na and @haeyoonchi for the beautiful documentation, and to everyone who contributed their time, gestures, and ways of working.

Throwback to a workshop at @commonimprint, returning to thoughts that still excite me, and to questions that continue to surface through zine-making.
An open call, a gathering of gestures, practices, and shared curiosities. Various experiences were translated into printed and physical forms, held, passed on, and re-encountered. The space became a temporary case of collective bodies, gathered through shared interests in self-publishing, zine making, and alternative modes of dissemination. A moment to think through how experiences move across bodies, formats, and publics, and how publishing can operate as an act of care, attention, and cooperation.
Grateful to @scarlettxmeng and @o.sam.kim for making this possible, to @nanaji.haeun.na and @haeyoonchi for the beautiful documentation, and to everyone who contributed their time, gestures, and ways of working.

Throwback to a workshop at @commonimprint, returning to thoughts that still excite me, and to questions that continue to surface through zine-making.
An open call, a gathering of gestures, practices, and shared curiosities. Various experiences were translated into printed and physical forms, held, passed on, and re-encountered. The space became a temporary case of collective bodies, gathered through shared interests in self-publishing, zine making, and alternative modes of dissemination. A moment to think through how experiences move across bodies, formats, and publics, and how publishing can operate as an act of care, attention, and cooperation.
Grateful to @scarlettxmeng and @o.sam.kim for making this possible, to @nanaji.haeun.na and @haeyoonchi for the beautiful documentation, and to everyone who contributed their time, gestures, and ways of working.

[ Mountains and Seas — Song of Today ] is a newsprint publication developed alongside the theatre performance by artist Xie Rong and writer Daniel York Loh, with visual identity and design by me. The booklet combines the full script from the performance with illustrations inspired by The Classic of Mountains and Seas.
The graphic system draws on the text’s shifting landscapes and mythical creatures, reinterpreting them through a contemporary visual language that bridges ancient and present. Born from grief and urgency in response to violence, displacement, and oppression today, the work uses myth and imagination to process and hold the weight of our current moment.
.
Photography and Videography:
Jamie Baker, Mike Skelton and Willow Hazell

[ Mountains and Seas — Song of Today ] is a newsprint publication developed alongside the theatre performance by artist Xie Rong and writer Daniel York Loh, with visual identity and design by me. The booklet combines the full script from the performance with illustrations inspired by The Classic of Mountains and Seas.
The graphic system draws on the text’s shifting landscapes and mythical creatures, reinterpreting them through a contemporary visual language that bridges ancient and present. Born from grief and urgency in response to violence, displacement, and oppression today, the work uses myth and imagination to process and hold the weight of our current moment.
.
Photography and Videography:
Jamie Baker, Mike Skelton and Willow Hazell

[ Mountains and Seas — Song of Today ] is a newsprint publication developed alongside the theatre performance by artist Xie Rong and writer Daniel York Loh, with visual identity and design by me. The booklet combines the full script from the performance with illustrations inspired by The Classic of Mountains and Seas.
The graphic system draws on the text’s shifting landscapes and mythical creatures, reinterpreting them through a contemporary visual language that bridges ancient and present. Born from grief and urgency in response to violence, displacement, and oppression today, the work uses myth and imagination to process and hold the weight of our current moment.
.
Photography and Videography:
Jamie Baker, Mike Skelton and Willow Hazell

[ Mountains and Seas — Song of Today ] is a newsprint publication developed alongside the theatre performance by artist Xie Rong and writer Daniel York Loh, with visual identity and design by me. The booklet combines the full script from the performance with illustrations inspired by The Classic of Mountains and Seas.
The graphic system draws on the text’s shifting landscapes and mythical creatures, reinterpreting them through a contemporary visual language that bridges ancient and present. Born from grief and urgency in response to violence, displacement, and oppression today, the work uses myth and imagination to process and hold the weight of our current moment.
.
Photography and Videography:
Jamie Baker, Mike Skelton and Willow Hazell

[ Mountains and Seas — Song of Today ] is a newsprint publication developed alongside the theatre performance by artist Xie Rong and writer Daniel York Loh, with visual identity and design by me. The booklet combines the full script from the performance with illustrations inspired by The Classic of Mountains and Seas.
The graphic system draws on the text’s shifting landscapes and mythical creatures, reinterpreting them through a contemporary visual language that bridges ancient and present. Born from grief and urgency in response to violence, displacement, and oppression today, the work uses myth and imagination to process and hold the weight of our current moment.
.
Photography and Videography:
Jamie Baker, Mike Skelton and Willow Hazell

[ Mountains and Seas — Song of Today ] is a newsprint publication developed alongside the theatre performance by artist Xie Rong and writer Daniel York Loh, with visual identity and design by me. The booklet combines the full script from the performance with illustrations inspired by The Classic of Mountains and Seas.
The graphic system draws on the text’s shifting landscapes and mythical creatures, reinterpreting them through a contemporary visual language that bridges ancient and present. Born from grief and urgency in response to violence, displacement, and oppression today, the work uses myth and imagination to process and hold the weight of our current moment.
.
Photography and Videography:
Jamie Baker, Mike Skelton and Willow Hazell

[ Mountains and Seas — Song of Today ] is a newsprint publication developed alongside the theatre performance by artist Xie Rong and writer Daniel York Loh, with visual identity and design by me. The booklet combines the full script from the performance with illustrations inspired by The Classic of Mountains and Seas.
The graphic system draws on the text’s shifting landscapes and mythical creatures, reinterpreting them through a contemporary visual language that bridges ancient and present. Born from grief and urgency in response to violence, displacement, and oppression today, the work uses myth and imagination to process and hold the weight of our current moment.
.
Photography and Videography:
Jamie Baker, Mike Skelton and Willow Hazell

[ Mountains and Seas — Song of Today ] is a newsprint publication developed alongside the theatre performance by artist Xie Rong and writer Daniel York Loh, with visual identity and design by me. The booklet combines the full script from the performance with illustrations inspired by The Classic of Mountains and Seas.
The graphic system draws on the text’s shifting landscapes and mythical creatures, reinterpreting them through a contemporary visual language that bridges ancient and present. Born from grief and urgency in response to violence, displacement, and oppression today, the work uses myth and imagination to process and hold the weight of our current moment.
.
Photography and Videography:
Jamie Baker, Mike Skelton and Willow Hazell

[ Mountains and Seas — Song of Today ] is a newsprint publication developed alongside the theatre performance by artist Xie Rong and writer Daniel York Loh, with visual identity and design by me. The booklet combines the full script from the performance with illustrations inspired by The Classic of Mountains and Seas.
The graphic system draws on the text’s shifting landscapes and mythical creatures, reinterpreting them through a contemporary visual language that bridges ancient and present. Born from grief and urgency in response to violence, displacement, and oppression today, the work uses myth and imagination to process and hold the weight of our current moment.
.
Photography and Videography:
Jamie Baker, Mike Skelton and Willow Hazell

[ Mountains and Seas — Song of Today ] is a newsprint publication developed alongside the theatre performance by artist Xie Rong and writer Daniel York Loh, with visual identity and design by me. The booklet combines the full script from the performance with illustrations inspired by The Classic of Mountains and Seas.
The graphic system draws on the text’s shifting landscapes and mythical creatures, reinterpreting them through a contemporary visual language that bridges ancient and present. Born from grief and urgency in response to violence, displacement, and oppression today, the work uses myth and imagination to process and hold the weight of our current moment.
.
Photography and Videography:
Jamie Baker, Mike Skelton and Willow Hazell

[ Mountains and Seas — Song of Today ] is a newsprint publication developed alongside the theatre performance by artist Xie Rong and writer Daniel York Loh, with visual identity and design by me. The booklet combines the full script from the performance with illustrations inspired by The Classic of Mountains and Seas.
The graphic system draws on the text’s shifting landscapes and mythical creatures, reinterpreting them through a contemporary visual language that bridges ancient and present. Born from grief and urgency in response to violence, displacement, and oppression today, the work uses myth and imagination to process and hold the weight of our current moment.
.
Photography and Videography:
Jamie Baker, Mike Skelton and Willow Hazell

[ Mountains and Seas — Song of Today ] is a newsprint publication developed alongside the theatre performance by artist Xie Rong and writer Daniel York Loh, with visual identity and design by me. The booklet combines the full script from the performance with illustrations inspired by The Classic of Mountains and Seas.
The graphic system draws on the text’s shifting landscapes and mythical creatures, reinterpreting them through a contemporary visual language that bridges ancient and present. Born from grief and urgency in response to violence, displacement, and oppression today, the work uses myth and imagination to process and hold the weight of our current moment.
.
Photography and Videography:
Jamie Baker, Mike Skelton and Willow Hazell

[ Mountains and Seas — Song of Today ] is a newsprint publication developed alongside the theatre performance by artist Xie Rong and writer Daniel York Loh, with visual identity and design by me. The booklet combines the full script from the performance with illustrations inspired by The Classic of Mountains and Seas.
The graphic system draws on the text’s shifting landscapes and mythical creatures, reinterpreting them through a contemporary visual language that bridges ancient and present. Born from grief and urgency in response to violence, displacement, and oppression today, the work uses myth and imagination to process and hold the weight of our current moment.
.
Photography and Videography:
Jamie Baker, Mike Skelton and Willow Hazell

Made this visual diary after a trip to Florence, where I noticed wheatpaste graffitis interrupting the city’s well-managed surfaces while maintaining a sense of care to the tradition. These fragile layers echoed older process of inscription where public walls carried unofficial voices. Their temporary presence suggested that visibility can emerge through repetition and simple acts of posting, reminding us that public communication has always been shaped by material improvisation rather than permanence.
Some images and footnotes:
1. Frescoes, Basilica di San Miniato al Monte. Cropped script from the frescoes shows how walls once carried public messages, layering devotion and instruction much like today’s pasteups.
2. Public Notice Board, Museo degli Innocenti (former Ospedale degli Innocenti). This notice board sits steps from the historic “Anonymous Entrance,” where infants were once left through the rotating window. Both the board and the building’s past speak to systems of visibility and anonymity.
3. Museo Marino Marini (former San Pancrazio Church). The renovated church becomes a site where old structures host new inscriptions, mirroring how contemporary postings restage historic surfaces.
4. Luca Barcellona Calligraphy Launch, via Pisana. Barcellona’s public lettering turns handwriting into a shared message, a modern act of posting that folds the personal into the civic.
5. Street Signage by Clet Abraham. The artist’s quiet edits disrupt official signage, inserting small refusals into the city’s visual order.
6. Spatial Type on Facade Irons (Unknown Author). These cut-metal letters act as anonymous inscriptions, blending structure with communication like unclaimed posters on the street.
7. “La Panetteria” Digital Shop Sign. A digital display that keeps the feel of hand lettering, showing how craft and technology continue to shape public graphic expression.

Made this visual diary after a trip to Florence, where I noticed wheatpaste graffitis interrupting the city’s well-managed surfaces while maintaining a sense of care to the tradition. These fragile layers echoed older process of inscription where public walls carried unofficial voices. Their temporary presence suggested that visibility can emerge through repetition and simple acts of posting, reminding us that public communication has always been shaped by material improvisation rather than permanence.
Some images and footnotes:
1. Frescoes, Basilica di San Miniato al Monte. Cropped script from the frescoes shows how walls once carried public messages, layering devotion and instruction much like today’s pasteups.
2. Public Notice Board, Museo degli Innocenti (former Ospedale degli Innocenti). This notice board sits steps from the historic “Anonymous Entrance,” where infants were once left through the rotating window. Both the board and the building’s past speak to systems of visibility and anonymity.
3. Museo Marino Marini (former San Pancrazio Church). The renovated church becomes a site where old structures host new inscriptions, mirroring how contemporary postings restage historic surfaces.
4. Luca Barcellona Calligraphy Launch, via Pisana. Barcellona’s public lettering turns handwriting into a shared message, a modern act of posting that folds the personal into the civic.
5. Street Signage by Clet Abraham. The artist’s quiet edits disrupt official signage, inserting small refusals into the city’s visual order.
6. Spatial Type on Facade Irons (Unknown Author). These cut-metal letters act as anonymous inscriptions, blending structure with communication like unclaimed posters on the street.
7. “La Panetteria” Digital Shop Sign. A digital display that keeps the feel of hand lettering, showing how craft and technology continue to shape public graphic expression.

Made this visual diary after a trip to Florence, where I noticed wheatpaste graffitis interrupting the city’s well-managed surfaces while maintaining a sense of care to the tradition. These fragile layers echoed older process of inscription where public walls carried unofficial voices. Their temporary presence suggested that visibility can emerge through repetition and simple acts of posting, reminding us that public communication has always been shaped by material improvisation rather than permanence.
Some images and footnotes:
1. Frescoes, Basilica di San Miniato al Monte. Cropped script from the frescoes shows how walls once carried public messages, layering devotion and instruction much like today’s pasteups.
2. Public Notice Board, Museo degli Innocenti (former Ospedale degli Innocenti). This notice board sits steps from the historic “Anonymous Entrance,” where infants were once left through the rotating window. Both the board and the building’s past speak to systems of visibility and anonymity.
3. Museo Marino Marini (former San Pancrazio Church). The renovated church becomes a site where old structures host new inscriptions, mirroring how contemporary postings restage historic surfaces.
4. Luca Barcellona Calligraphy Launch, via Pisana. Barcellona’s public lettering turns handwriting into a shared message, a modern act of posting that folds the personal into the civic.
5. Street Signage by Clet Abraham. The artist’s quiet edits disrupt official signage, inserting small refusals into the city’s visual order.
6. Spatial Type on Facade Irons (Unknown Author). These cut-metal letters act as anonymous inscriptions, blending structure with communication like unclaimed posters on the street.
7. “La Panetteria” Digital Shop Sign. A digital display that keeps the feel of hand lettering, showing how craft and technology continue to shape public graphic expression.

Made this visual diary after a trip to Florence, where I noticed wheatpaste graffitis interrupting the city’s well-managed surfaces while maintaining a sense of care to the tradition. These fragile layers echoed older process of inscription where public walls carried unofficial voices. Their temporary presence suggested that visibility can emerge through repetition and simple acts of posting, reminding us that public communication has always been shaped by material improvisation rather than permanence.
Some images and footnotes:
1. Frescoes, Basilica di San Miniato al Monte. Cropped script from the frescoes shows how walls once carried public messages, layering devotion and instruction much like today’s pasteups.
2. Public Notice Board, Museo degli Innocenti (former Ospedale degli Innocenti). This notice board sits steps from the historic “Anonymous Entrance,” where infants were once left through the rotating window. Both the board and the building’s past speak to systems of visibility and anonymity.
3. Museo Marino Marini (former San Pancrazio Church). The renovated church becomes a site where old structures host new inscriptions, mirroring how contemporary postings restage historic surfaces.
4. Luca Barcellona Calligraphy Launch, via Pisana. Barcellona’s public lettering turns handwriting into a shared message, a modern act of posting that folds the personal into the civic.
5. Street Signage by Clet Abraham. The artist’s quiet edits disrupt official signage, inserting small refusals into the city’s visual order.
6. Spatial Type on Facade Irons (Unknown Author). These cut-metal letters act as anonymous inscriptions, blending structure with communication like unclaimed posters on the street.
7. “La Panetteria” Digital Shop Sign. A digital display that keeps the feel of hand lettering, showing how craft and technology continue to shape public graphic expression.

Made this visual diary after a trip to Florence, where I noticed wheatpaste graffitis interrupting the city’s well-managed surfaces while maintaining a sense of care to the tradition. These fragile layers echoed older process of inscription where public walls carried unofficial voices. Their temporary presence suggested that visibility can emerge through repetition and simple acts of posting, reminding us that public communication has always been shaped by material improvisation rather than permanence.
Some images and footnotes:
1. Frescoes, Basilica di San Miniato al Monte. Cropped script from the frescoes shows how walls once carried public messages, layering devotion and instruction much like today’s pasteups.
2. Public Notice Board, Museo degli Innocenti (former Ospedale degli Innocenti). This notice board sits steps from the historic “Anonymous Entrance,” where infants were once left through the rotating window. Both the board and the building’s past speak to systems of visibility and anonymity.
3. Museo Marino Marini (former San Pancrazio Church). The renovated church becomes a site where old structures host new inscriptions, mirroring how contemporary postings restage historic surfaces.
4. Luca Barcellona Calligraphy Launch, via Pisana. Barcellona’s public lettering turns handwriting into a shared message, a modern act of posting that folds the personal into the civic.
5. Street Signage by Clet Abraham. The artist’s quiet edits disrupt official signage, inserting small refusals into the city’s visual order.
6. Spatial Type on Facade Irons (Unknown Author). These cut-metal letters act as anonymous inscriptions, blending structure with communication like unclaimed posters on the street.
7. “La Panetteria” Digital Shop Sign. A digital display that keeps the feel of hand lettering, showing how craft and technology continue to shape public graphic expression.

Made this visual diary after a trip to Florence, where I noticed wheatpaste graffitis interrupting the city’s well-managed surfaces while maintaining a sense of care to the tradition. These fragile layers echoed older process of inscription where public walls carried unofficial voices. Their temporary presence suggested that visibility can emerge through repetition and simple acts of posting, reminding us that public communication has always been shaped by material improvisation rather than permanence.
Some images and footnotes:
1. Frescoes, Basilica di San Miniato al Monte. Cropped script from the frescoes shows how walls once carried public messages, layering devotion and instruction much like today’s pasteups.
2. Public Notice Board, Museo degli Innocenti (former Ospedale degli Innocenti). This notice board sits steps from the historic “Anonymous Entrance,” where infants were once left through the rotating window. Both the board and the building’s past speak to systems of visibility and anonymity.
3. Museo Marino Marini (former San Pancrazio Church). The renovated church becomes a site where old structures host new inscriptions, mirroring how contemporary postings restage historic surfaces.
4. Luca Barcellona Calligraphy Launch, via Pisana. Barcellona’s public lettering turns handwriting into a shared message, a modern act of posting that folds the personal into the civic.
5. Street Signage by Clet Abraham. The artist’s quiet edits disrupt official signage, inserting small refusals into the city’s visual order.
6. Spatial Type on Facade Irons (Unknown Author). These cut-metal letters act as anonymous inscriptions, blending structure with communication like unclaimed posters on the street.
7. “La Panetteria” Digital Shop Sign. A digital display that keeps the feel of hand lettering, showing how craft and technology continue to shape public graphic expression.

Made this visual diary after a trip to Florence, where I noticed wheatpaste graffitis interrupting the city’s well-managed surfaces while maintaining a sense of care to the tradition. These fragile layers echoed older process of inscription where public walls carried unofficial voices. Their temporary presence suggested that visibility can emerge through repetition and simple acts of posting, reminding us that public communication has always been shaped by material improvisation rather than permanence.
Some images and footnotes:
1. Frescoes, Basilica di San Miniato al Monte. Cropped script from the frescoes shows how walls once carried public messages, layering devotion and instruction much like today’s pasteups.
2. Public Notice Board, Museo degli Innocenti (former Ospedale degli Innocenti). This notice board sits steps from the historic “Anonymous Entrance,” where infants were once left through the rotating window. Both the board and the building’s past speak to systems of visibility and anonymity.
3. Museo Marino Marini (former San Pancrazio Church). The renovated church becomes a site where old structures host new inscriptions, mirroring how contemporary postings restage historic surfaces.
4. Luca Barcellona Calligraphy Launch, via Pisana. Barcellona’s public lettering turns handwriting into a shared message, a modern act of posting that folds the personal into the civic.
5. Street Signage by Clet Abraham. The artist’s quiet edits disrupt official signage, inserting small refusals into the city’s visual order.
6. Spatial Type on Facade Irons (Unknown Author). These cut-metal letters act as anonymous inscriptions, blending structure with communication like unclaimed posters on the street.
7. “La Panetteria” Digital Shop Sign. A digital display that keeps the feel of hand lettering, showing how craft and technology continue to shape public graphic expression.

Made this visual diary after a trip to Florence, where I noticed wheatpaste graffitis interrupting the city’s well-managed surfaces while maintaining a sense of care to the tradition. These fragile layers echoed older process of inscription where public walls carried unofficial voices. Their temporary presence suggested that visibility can emerge through repetition and simple acts of posting, reminding us that public communication has always been shaped by material improvisation rather than permanence.
Some images and footnotes:
1. Frescoes, Basilica di San Miniato al Monte. Cropped script from the frescoes shows how walls once carried public messages, layering devotion and instruction much like today’s pasteups.
2. Public Notice Board, Museo degli Innocenti (former Ospedale degli Innocenti). This notice board sits steps from the historic “Anonymous Entrance,” where infants were once left through the rotating window. Both the board and the building’s past speak to systems of visibility and anonymity.
3. Museo Marino Marini (former San Pancrazio Church). The renovated church becomes a site where old structures host new inscriptions, mirroring how contemporary postings restage historic surfaces.
4. Luca Barcellona Calligraphy Launch, via Pisana. Barcellona’s public lettering turns handwriting into a shared message, a modern act of posting that folds the personal into the civic.
5. Street Signage by Clet Abraham. The artist’s quiet edits disrupt official signage, inserting small refusals into the city’s visual order.
6. Spatial Type on Facade Irons (Unknown Author). These cut-metal letters act as anonymous inscriptions, blending structure with communication like unclaimed posters on the street.
7. “La Panetteria” Digital Shop Sign. A digital display that keeps the feel of hand lettering, showing how craft and technology continue to shape public graphic expression.

Made this visual diary after a trip to Florence, where I noticed wheatpaste graffitis interrupting the city’s well-managed surfaces while maintaining a sense of care to the tradition. These fragile layers echoed older process of inscription where public walls carried unofficial voices. Their temporary presence suggested that visibility can emerge through repetition and simple acts of posting, reminding us that public communication has always been shaped by material improvisation rather than permanence.
Some images and footnotes:
1. Frescoes, Basilica di San Miniato al Monte. Cropped script from the frescoes shows how walls once carried public messages, layering devotion and instruction much like today’s pasteups.
2. Public Notice Board, Museo degli Innocenti (former Ospedale degli Innocenti). This notice board sits steps from the historic “Anonymous Entrance,” where infants were once left through the rotating window. Both the board and the building’s past speak to systems of visibility and anonymity.
3. Museo Marino Marini (former San Pancrazio Church). The renovated church becomes a site where old structures host new inscriptions, mirroring how contemporary postings restage historic surfaces.
4. Luca Barcellona Calligraphy Launch, via Pisana. Barcellona’s public lettering turns handwriting into a shared message, a modern act of posting that folds the personal into the civic.
5. Street Signage by Clet Abraham. The artist’s quiet edits disrupt official signage, inserting small refusals into the city’s visual order.
6. Spatial Type on Facade Irons (Unknown Author). These cut-metal letters act as anonymous inscriptions, blending structure with communication like unclaimed posters on the street.
7. “La Panetteria” Digital Shop Sign. A digital display that keeps the feel of hand lettering, showing how craft and technology continue to shape public graphic expression.

Nov 22, 2025 Distributed Bodies
PLATES 2 Book Launch at Common Imprint
📍 Zionskirchstraße 16, 10119 Berlin
📒14:00–16:00 Workshop: The Body as Printer with Can Yang
📚 16:00–17:00 Talk: Distributed Bodies with Scarlett Meng @scarlettxmeng, Can Yang @solxus, and Sam Kim @o.sam.kim

🔗 Workshop: Limited to 8 participants. RSVP link in BIO @commonimprint
Talk: Free entry. No RSVP needed.

In The Body as Printer, designer and artist Can Yang invites participants to explore the body as a living site of publication, a place where gestures, movements, and traces quietly unfold into forms of expression. Through tactile and translative activities, the workshop reflects on how physical actions might echo onto a page, how a fleeting motion might hold meaning, and how touch can leave its own kind of imprint. Here, the body becomes both instrument and memory bank, shaping and carrying what it produces. The session concludes by considering how these gestures can become shared acts, creating moments of exchange through physical interaction and encounter.

Following the workshop, the talk Distributed Bodies marks the Berlin launch of PLATES 2: The Body Issue, conceived as an editorial and curatorial response to contemporary design practice and criticism. The series PLATES investigates timely questions through thematic, iterative “plates” that merge visual and textual inquiry.
In its second issue, The Body Issue, the publication turns to the body — its material presence and mutable identities within capitalism, technology, politics, and media. The discussion, with Scarlett Meng, Can Yang, and Sam Kim, will trace how corporeality operates across systems of design and representation: as surface, as machine, as interface, as field of exchange.

Poster design @solxus
Presented by @page.bureau @relateddept
Hosted by @commonimprint

Nov 22, 2025 Distributed Bodies
PLATES 2 Book Launch at Common Imprint
📍 Zionskirchstraße 16, 10119 Berlin
📒14:00–16:00 Workshop: The Body as Printer with Can Yang
📚 16:00–17:00 Talk: Distributed Bodies with Scarlett Meng @scarlettxmeng, Can Yang @solxus, and Sam Kim @o.sam.kim

🔗 Workshop: Limited to 8 participants. RSVP link in BIO @commonimprint
Talk: Free entry. No RSVP needed.

In The Body as Printer, designer and artist Can Yang invites participants to explore the body as a living site of publication, a place where gestures, movements, and traces quietly unfold into forms of expression. Through tactile and translative activities, the workshop reflects on how physical actions might echo onto a page, how a fleeting motion might hold meaning, and how touch can leave its own kind of imprint. Here, the body becomes both instrument and memory bank, shaping and carrying what it produces. The session concludes by considering how these gestures can become shared acts, creating moments of exchange through physical interaction and encounter.

Following the workshop, the talk Distributed Bodies marks the Berlin launch of PLATES 2: The Body Issue, conceived as an editorial and curatorial response to contemporary design practice and criticism. The series PLATES investigates timely questions through thematic, iterative “plates” that merge visual and textual inquiry.
In its second issue, The Body Issue, the publication turns to the body — its material presence and mutable identities within capitalism, technology, politics, and media. The discussion, with Scarlett Meng, Can Yang, and Sam Kim, will trace how corporeality operates across systems of design and representation: as surface, as machine, as interface, as field of exchange.

Poster design @solxus
Presented by @page.bureau @relateddept
Hosted by @commonimprint

Nov 22, 2025 Distributed Bodies
PLATES 2 Book Launch at Common Imprint
📍 Zionskirchstraße 16, 10119 Berlin
📒14:00–16:00 Workshop: The Body as Printer with Can Yang
📚 16:00–17:00 Talk: Distributed Bodies with Scarlett Meng @scarlettxmeng, Can Yang @solxus, and Sam Kim @o.sam.kim

🔗 Workshop: Limited to 8 participants. RSVP link in BIO @commonimprint
Talk: Free entry. No RSVP needed.

In The Body as Printer, designer and artist Can Yang invites participants to explore the body as a living site of publication, a place where gestures, movements, and traces quietly unfold into forms of expression. Through tactile and translative activities, the workshop reflects on how physical actions might echo onto a page, how a fleeting motion might hold meaning, and how touch can leave its own kind of imprint. Here, the body becomes both instrument and memory bank, shaping and carrying what it produces. The session concludes by considering how these gestures can become shared acts, creating moments of exchange through physical interaction and encounter.

Following the workshop, the talk Distributed Bodies marks the Berlin launch of PLATES 2: The Body Issue, conceived as an editorial and curatorial response to contemporary design practice and criticism. The series PLATES investigates timely questions through thematic, iterative “plates” that merge visual and textual inquiry.
In its second issue, The Body Issue, the publication turns to the body — its material presence and mutable identities within capitalism, technology, politics, and media. The discussion, with Scarlett Meng, Can Yang, and Sam Kim, will trace how corporeality operates across systems of design and representation: as surface, as machine, as interface, as field of exchange.

Poster design @solxus
Presented by @page.bureau @relateddept
Hosted by @commonimprint