As much as the mechanisation of work has separated most individuals from the experience of witnessing its creation, new digital media from the internet to instant communication and film-making have continued to separate us from direct contact with the information and services we consume. Modernity worked to push apart the hands of the creator and consumer in every possible way—the writer became detached from the printing press, and the printing press became detached from the reader. Digitisation as a consequence of post-modernity has only served to compound this shift.

Many companies now sell invisible and untraceable products—the form of which, are never touched or felt, and only experienced digitally. The challenge of visual communicators is obvious—and our direction is as much an exercise in philosophy and truth-seeking as it is in mark-making. Above all, my work hoping to both fulfil immediate design needs in-terms of output, functionality, and appeal—but to also teach those who use it to more carefully scrutinise the material world.

So while the superstructures of our digital and physical world continue to arrange themselves in increasingly complex and layered ways, design must work to simplify and rationalise this information and decipher it into a digestible and truthful reality—a divine mission during our age of post-truth politics and difficult moral relativism.

My practice is a workshop typical of the 21st Century—multi-disciplinary, equal parts inquisitive, scrutinising, and radical. I don’t shy away from challenges, and always strive to deliver groundbreaking work. With one eye on the past, contemporary design practice is an exercise in deliberate arrangement and attentive craft. It is a supporting act—an execution on a groundbreaking idea—supporting your next big leap into the unknown.