'Fortunate Futures Presents' is a collection of short comics illustrating a future verging on utopia. [Print using 1 sheet of A4.]
"If you’re looking for a futuristic story centred around robot apocalyptic-themed misery, then this isn’t the poorly written piece of fictional literature of extreme brevity for you. This is an optimistic tale of the future, a future made brighter with every by-product of self-indulgent living in a time of complete nowism."
It started with a Rico. Since then, I have played, practiced, and ...developed... as a photographer. I take photos of anything and everything and contribute some of my more successful shots to Twenty20. After an 8 week and a day road trip around America, I created and printed a thematic photobook 'Who Knows? No one.' One of my pictures from this trip was exhibited in the Tent Gallery, Edinburgh as part of the Hold Me Dear Summer exhibition.PHOTO BOOK
This project was a collaboration between the Hitachi Corporation, Glasgow School of Art Masters students and a team of design researchers. The brief? To analyse current political, economic, social and technological issues within the UK, exploring how these will shift by 2025.
Myself and Masters student Louise Mushet focused on the infrastructure of British healthcare, researching home as hospital, data driven services, our rising ageing population, and how people could live happier and healthier for longer. Hitachi were particularly interested in the British rituals surrounding end of life care and practices and this became the focus for our final research piece.
Focusing on the evolving curriculum for excellence in the British education system and the recent introduction of grieving as a taught subject, we looked to represent this shift in attitude with the redesign of an archetypical toy. With the right accessories Barbie can get married, go to work, and have children, so can death be imagined as another milestone in Barbie’s life? Parents often shelter their children from the conversation of mortality, but now kids are having the discussion in the classroom. Children’s toys have the power to bridge school and home, teachers and parents, make-believe and reality, prompting a conversation that may otherwise not occur.
"Safely under the blanket are Ben's toes and Ted's paws, but Ben's thoughts go to monsters and their big angry claws." Monsters hiding under the bed, in the wardrobe or behind the curtains are all very real threats to children and their sleep. By recognising the issue of monsters without encouraging or dismissing their existence, this project aims to provide an alternative outlet for the child’s imagination that creates them. Working with children and parents, as well as professional child psychologists, this research led project uses placebos and narrative to enhance the existing night-time ritual routine and the bedtime story. The outcome of this project took the form of a monster catcher, bait and a story book. The abstract forms of the catcher and the bait provide scope for imagination, and the story book acts as the experience instruction manual for both parent and child. Once a chosen piece of bait has been hung in the catcher, the parent reads the book with their child, which tells the story of a young boy called Ben who is also scared of monsters and has a monster catcher of his own. "Ben sleeps so soundly, counting his sheep, and from his monsters, not even a peep."
This project came about thanks to a period of unemployment after graduation, access to a house in the countryside, the collaboration of a great friend (Santini Basra) and a box full of toy animals.
Animalium, 'the untold tales of imaginary animals', is an experiment in plastic taxidermy. The finished article is a zine featuring photographs of handmade models of the fictional creatures we created, such as the ‘Greater Malaysian Otter’ and the 'Southern Stilted Alligator’.
Awarded distinction, this is my Bachelor of Design with Honours dissertation completed in 2014.
"This dissertation explores the future of sensory experiences in the digital age. Through the analysis and comparison of futurology examples and key dystopian texts, the availability and possibility for sensory experiences in the projected future is assessed. The extrapolation of our modern day technology creates a dystopian forecast of the future, and the fears identified within are proven justified through the study of three key themes: the adherence to the sense of sight, the removal of the physical and the mutability of the past. This warning flag waved by forecasters suggests our relationship with technology requires reframing. Perceived as the tools that provide the feedback of our relationship with the world, the sensory receptors are explored in depth within Kenya Hara’s ‘Designing Design’. Within this book, the Japanese graphic designer and curator introduces his coined theory of senseware. This design approach prioritizes the human sensory receptors and augments everyday hapticity with technology. Drawing case studies from Hara’s 2004 ‘Haptic –Awakening the Senses’ exhibition, the successes of combining the new with the old demonstrates the huge potential for sensory experiences in the digital age. Hara removes technology from the bracket of dystopia and leaves nostalgia behind to reveal a previously undiscovered continent of senses."
With the digital age and the growth of worldwide media, issues and cause for protest have become global. In tandem, social media and the web have facilitated for the new phenomenon that is armchair activism. But how effective is a 'like' or a 'retweet' when compared to the physical presence of people and pickets? Can online activism be realised in the physical space of a protest and contribute more directly to the cause? This project looked to enhance the physical protest with the presence of those supporting remotely.
#protest is a system for remote activism, facilitated by social media. Using Twitter, (selected for its limited character count and global presence), in conjunction with an online platform and an interactive picket, physically present protesters can play host to activists from all over the world.
Responding to the adhoc nature of protest, the twitter picket is designed as a DIY object. The outcome is a manual, illustrating how arduino can be used to create a digital picket that connects to the internet with the ability to stream from a specific twitter feed. This 'arms' physical protesters with the voice of those from around the globe and a physical spectacle to be captured on film footage and photo. The online 'movement' is visualised on a webpage that acts as a means to spread the word of its happening and to archive the protest for future reference.
I took part in "Ceramic Futures: from poetry to science fiction", the ceramics-based social project, sponsored by Cersaie and the Italian ceramics industry. Featured on centralstation and printed in the Ceramic Futures publication, my response explores the ‘new nature’ of tableware through the study and use of cymatics and ceramic. By extending the role played by ceramics at the dining table, each archetypal object has been altered to incorporate the visual representation of its sound. The application of cymatics (the visualisation of sound) varies from object to object; the knife’s serrations are a direct representation of its sound wave, whereas the spoon’s sound is incorporated as a scape sitting in the bowl - to be experienced by the users lips as a texture. Wine glasses clinking together defines the entirety of the form, and produces two objects as is fitting to the nature of noise creation. These were all achieved using a sound visualizer and 3D computer modelling. Along with being a durable, hygienic, and a beautiful material, ceramics lies comfortably within the boundaries of 3D printing. The future of this concept is the ability to print in ceramic, allowing the cymatics of the objects to be accurately produced, creating this new tactile and visual dining set.
Exhibited in the New Glasgow Society space, this project focused on the domestic brands and products of the future.
In 2040, the retirement age will have risen to 76. More elderly people will remain living in the already overpopulated urban environments; and in some instances, three generations will be living under one roof. With a 1st, 2nd and 3rd generation sharing the same home, the family dynamics will be reminiscent of traditional social conditions. But modern artefacts and technology have made this a less harmonious environment than experienced in decades prior.
We are a brand promoting the little things in life and their values to you and your family. We aim to provide little moments of stress relief and you-time to preserve harmony in your home.
With a love for nature and a desire for a moment of alone time, this product provides a drinking experience for the members of the household. With a shared water source, the human user is encouraged to sit with their plant, controlling the water flow, caring for them both. The drip bag hung on the wall is a visual cue to the rest of the family the remaining time the pair have to themselves, with the health of the plant reflecting that of its carer.
Self-representation online is a world of curated information and statistics. Provided with the availability and temptation to tailor what we reveal as personal data, the result is the creation of online alter egos. But how does this effect those looking for love in the digital age?
Finding ‘the one’ rests on the compatibility of the human mind and body. However, in contrast, today we look to calculate matches mathematically by calling on self-reported criteria.
In response, this project reframes the role of technology within the activity of dating, looking to enhance the power of human data rather than removing it from the love-match equation.
RAW DATER is a first date service that brings back face-to-face match-making, augmented with technology. Using thermal imaging, heartbeat sensors and a ‘cut to the chase’ attitude, real human data is laid out on the dining table, as users search for love.