In this 700+ page publication, linear and non linear ways of looking at time by translating an animation of a rotating object across the spread. The recto pages display each frame of a 360-degree counterclockwise rotation (along the y-axis) of a cube, in which every distinct pair of vertices is connected by a single, unique edge. On the verso pages, the same rotation is shown, but the frames are presented out of sequence. On the right-hand pages, the viewer experiences a smooth, orderly progression through the rotation. On the left, the rotation unfolds in fits and starts, with each frame disconnected from the one before and after it. Each spread presents the cube as simultaneously “in” and “out” of time; rotation continuous and disrupted. 

Bound opens the aperture of time across several centuries, centering on Tartu, a town in central Estonia. The publication grapples with the legacy of Russian and later Soviet occupation in Estonia and the broader Baltic region, while also engaging with the context of the East European diaspora. It explores what happens to letterforms when they are displaced from their native context and subjected to translation across digital and print media. The project is rooted in work I began in 2018 at TYPA Printing and Paper Art Centre during a residency there: constructing glyphs that merge elements of Latin and Cyrillic characters. 

Stillness/Stillness translates a video shot from a train window near West Kingston, Rhode Island, while riding the Amtrak Northeast Regional from Penn Station to Providence. The passenger is both still and in motion, and the landscape unfolds as a prolonged scroll.
The accordion structure mirrors the experience through the structure of the publication: it unfolds in time yet can also be viewed in its entirety. Inside the fold is the colophon and a QR code linking to the complete video

A still from the video was printed on newsprint through Newspaper Club, and the text was set in metal type and printed in white ink on a Vandercook 320G Press. The seamlessness of the digitally recorded experience of the video contrasts with the jaggedness of the hybrid printing processes and the folds of the paper.

The card as a a bridge between of two coasts, time passing and a the impossibility of seeing both at the same time. It was hot foil stamped with handset metal type using 18 and 36 point Lydian Bold on the heaviest 595 gsm Crane’s Lettra.

A set of two pencils. Hot foil stamped with handset metal type using 10 point Franklin Bold.

A Landscape explores the absences and erasures of the landscape — its reading and translation. The works place human absence in the context of the geological timescale of water, strata of rocks, lichen and ferns found in the Shawangunk Ridge in the Hudson River Valley area of New York State, where the shallow sea of the late Cambrian receded to be replaced by the jagged edges of protruding tectonic plates.

Typography and memory: a typographic study in contemplation and recall. The staggered placement and generous negative space slow reading into an active, temporal act, foregrounding non-simultaneity and the gaps memory must bridge.

An ongoing series of small-format publications—each dedicated to one subject or event, documenting moments of transition.