About

In my work, which critically engages with my background as a designer working in the tech industry, I take up the mantle of the artist-as-experimenter[1]—questioning “the limits of preconstituted fields… along with the accepted criteria of judgment by which they would be held to account”[2]—in order to critique Graphic Design’s participation in the distribution of the sensible[3]—the delimiting of sensory experience that determines how we participate as political subjects.

Graphic Design and User Experience Design guide us as we experience the world, allowing us to perceive some things while concealing others, and, therefore, shaping our modes of participation. In my creative work, I render the invisible visible, illuminating the politics of design in technology, as well as the ideas about the future embedded within our technologies themselves. I seek to contextualize, critique, and, maybe optimistically, modify the way that Design distributes the sensible, the way it shapes our understanding of ourselves as political subjects through our technologies, and how this circumscribes the way we imagine the future. To do so, I carve an intellectual space that utilizes a constellation of theories and methods from the fine arts, Science and Technology Studies (STS), Cultural Studies, Media Studies, and Philosophy.

[1] Lyotard, Jean-François. 2003. “The tomb of the intellectual,” in Jean-François Lyotard: Political Writings. London: UCL Press, 3.
[2] Hall, Gary. 2016. The Uberfication of the University. Minneapolis, MN: University of Minnesota Press, 49.
[3] Rancière, Jacques. The Politics of Aesthetics: The Distribution of the Sensible. New York: Continuum.