Conceptual Explorations In Physical Typography (Part 1)
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"Because I Asked" is a series of material explorations in typography. The raw text material derives from answers to two prompts: What do you beli… Read More
"Because I Asked" is a series of material explorations in typography. The raw text material derives from answers to two prompts: What do you believe? and What do you know? Material and type are actively manipulated to achieve emotional affect. Read Less
        My Fine Arts Thesis is an investigation of the ways we negotiate knowledge, ideology, and belief within a society that deters their thorough consideration. Individual introspection is hindered by a culture of distraction brought forth by advances in communication technology. The formation of meaningful connections, both interpersonal and communal, is dependent on a mutual understanding of value systems. However, a variety of forces hamper our ability to relate to each other in this manner. These include displacement and fragmentation resulting from the blurring of physical contexts in an era of technology;individuality as its own ethos; the problem of moral certainty and postmodernism; and a fear of judgment within a hyper-pluralistic society. 

      With these concepts in mind, I confronted individuals with the questions "What do you know?" and "What do you believe?" Some were individuals that I knew closely (though still without great knowledge of the plausible answers to these questions.) Some answered the questions (via email) as indirect contacts. These questions are purposefully broad and daunting. The very way that different people access the questions reveals their unique mentality and value-system. 

      The responses are typographically translated into material revelation and declaration. The diversity and delicacy of the responses are reflected in the use of eclectic materials that blur the line between text and object. Type as material is actively manipulated to achieve specific emotional affect and contextualization. Formally, the work revolves around motifs of vulnerability, permanence, ascension,suspension, and disintegration.
Gush Etzion, 4-ply Matboard, 30" x 30" 2010


"The gush is a beautiful land in which Jewshave lived for many centuries. Jews fought for this land year in andout as it was a land that was occupied but Jews when the Temple wasstill in existence (over 2000 years ago). When it became an Arabterritory Jews bought the land from Arabs. Now, while it is probablythe nicest established settlement, it is one the biggest sources ofstrife in the Arab-Israeli conflict. In one sense the Jews there livepeacefully surround by their Arab neighbors and do not cause anyproblems. In another sense, they wave their Israeli flags high, and area prime example of Israeli stubborness preventing peace in the land.
Coming to this place I believed in peace, and I thought that thisplace was preventing a sustainable resolution between Palestinians andIsraelis. However, after seeing the beautiful land, having dinner witha big family who has lived there for many years and fought for Israel,and learning about the rich history the land has to offer , I didn't know what exactlyto believe about the Gush. I thought about both perspectives, but I don't know if the land should be given up or not."
Confrontation, Ink, Varnish, Hosho Paper. Dimensions Variable, 2009-2010

"I believe our general morality is much better now than in the past.
The end-of-times folks disparaging human society to justify their
apocalyptic world view are woefully ignorant."
Intolerable (Part 2), Etched Glass: Shattered, 36"x 48," 2010
I Can't, Galvanized Steel Wire, 2010
It's not what you know, Letterpress on card stock, 2010