Kudos acknowledges and pays respect to the Gadigal and Bidjigal people of the Eora nation. They are the traditional custodians of the land Kudos operates on. We create, design, share, and exchange our work and knowledge on this important meeting place. We pay our respects to elders past and present and extend that respect to any First Nations people who engage with Kudos. This is and always will be Aboriginal land.
My practice is rooted in graphic design and visual communication, with a particular interest in branding, event identities, posters and book design. Small details, observations and questions from everyday life often become starting points for my work. While graphic design remains at the centre of my practice, I enjoy experimenting with different mediums and approaches depending on the project. My work tends to be visually engaging, playful and sometimes unexpected.
@sleeplesst_sprite_
| Unknown Echo |
| Unknown Echo is a multimedia installation exploring how memory and identity are continually reconstructed, assigned value and made consumable through systems of branding, capitalism and digital categorisation. Beginning with nostalgia and the question of why we keep looking back, the project examines how fragments of the past are selectively preserved, aestheticised and repackaged for the present. Staged as a speculative pop-up store, the installation mirrors the logic of capitalist repackaging. Three CRT monitors sit among milk crates, posters, receipts, a zine, vinyl record designs and sublimation-printed textiles. Ordinary, low-cost materials such as milk crates and poster paper are transformed through graphic treatment and retail-style display, demonstrating how design and context can construct perceived value. Zines, records and textiles appear almost as merchandise, extending memory and identity into a branded visual system. Rather than critiquing commercialisation from a distance, Unknown Echo deliberately performs it. By adopting the seductive and repeatable language of branding, advertising and retail display, the work exposes how histories, memories and identities can themselves become desirable and marketable aesthetics. Across the three CRTs, this process shifts from collective memory to individual identity. Moving image borrows from advertising language; an interactive face and hand detection system translates the viewer into trackable visual data; while recorded interviews use open-ended questions around identity, memory, ownership and datafication to foreground personal voices and lived experiences that cannot be fully captured by such systems. Through tensions between attraction and critique, analogue and digital, merchandise and memory, Unknown Echo asks: what is lost when complex histories and identities must become legible, desirable and consumable in order to be valued? |