about me

Working tirelessly to bridge the gap between the tactile and the digital aspects of design, I strive to bring elegance and intrigue to a wide array of designs. My approach to design has always been influenced by my love of aesthetic composition and an affection for physical modes of expression. As I navigate through the current design landscape I find myself working to find innovative ways to create using both archaic physical tactics and contemporary modern technological techniques. The means of creation in the design field are vast and vary immensely and I believe that one must explore all avenues and always search for the most apt tools to create the powerful solution to any design problem or puzzle that we as designers face. 

In my studies I have found myself drawn to the work of designers and artists that have attempted to push the boundaries of communication and questioned what it means to communicate. The philosophy and theories of Jacques Derrida, specifically his questioning of the veracity of binary oppositions, has been extremely influential upon my approach to design thinking, Additionally, the work of the New Wave at the Basil School (including but not limited to Wolfgang Weingart and April Greiman), Cranbrook Academy (led by Katherine McCoy), and the deconstructive communication strategies of David Carson and Vaughan Oliver that tested the necessity of legibility, have all been overwhelmingly pivotal in my growth as a designer. 

I believe that every design dilemma is a unique challenge that must be examined for it’s own components. My approach is to investigate all methods to convey the communication necessary and develop the most interesting, fresh and inventive strategy to solve the design puzzle. This strategy is one that is creatively facilitated through a collaborative team based environment. The free exchange of ideas allows for the exploration of more novel and inspired vision for a communication design solution. 

As far as medium and focus in design, I find all facets of design riveting. Everything from packaging and publication design to user experience and user interface design has it’s intrigue and attraction. The true tenets of design, aesthetics and composition are for the most part universal and finding ways to explore those tenets through all of the different concentrations of design is one of the most compelling aspects of the field. The reach and scope of communication design is vast and the exploration of all of the different modes through which to design is engaging and something that consistently pushes me to work on improving my abilities in all of the different threads of design. 

Pushing the boundaries of the meaning of communication and finding ways to approach design in new and interesting ways is what drives me. Using the tools that I’ve grown proficient in and the conceptual and theoretical leanings that I’ve chosen to study to communicate for clients is the what pushes me to constantly grow and evolve as a designer.

Music drew me to design. I’ve always been obsessed with music and all of the different artistic aspects that are involved in the medium. This is perfectly exemplified by Vaughan Oliver and the album art that he did for the 4AD label as well as Peter Saville and his work for Factory Records. Even before I knew much about design I found myself drawn to the design, aesthetic systems, and unified identities that these designers crafted for their respective record labels. Additionally though both of these designers have very distinctive styles, the aesthetics created have been very influential upon my own style. Vaughan Oliver’s style is very deconstructive and exploratory in its communication style, which is something that I strive to explore through my designs. While Peter Saville has a much cleaner and deliberate visual style, his ability to communicate brilliantly and beautifully has influenced my communication strategy immensely. 

After exploring design and design history further, I’ve found that there is a rich history of designers pushing the boundaries of communication and finding new and beautifully effective means to connect with their audience, Initially I became fascinated with the work of David Carson and the infinite levels of communications that can be expressed through a single complex piece. At that point I expanded my horizons and followed post-modernism and deconstruction down the rabbit hole of design. I became fascinated with Wolfgang Weingart as well as April Greiman, both of whom were key figures from the Basil School who found brilliant ways to intricately tweak the grid, or completely reinvent the conventional grid, to uniquely communicate. Then I followed the trends to the McCoy’s, more specifically Katherine, and the ways that they/ she injected the Cranbrook school of design with deconstruction to re-invigorate design. 

The thread of the McCoy’s and the Cranbrook School enticed me to further explore the theories of Post-Modernism and the Deconstructionism. In theory classes and personal readings I studied the writings and theories of and about Jacques Derrida. Through my own survey of the texts that sparked deconstruction in literature, art, architecture and design, I’ve shaped my own personal understanding of deconstruction and it’s potential relationship to my design aesthetic. 

Looking further back, I have always found inspiration in the Avant-Garde Movements, such as the Surrealists and the Dadaists. Additionally I loved the exploratory styles of the Constructivists and the Bauhaus movements. I would say that the innovative and unapologetic nature of these movements has had a profound influence upon the way that I view art/design and their ability to change the world and the way that people see things in real life. 

Thinking more locally, I have been influenced immensely by the professors and professionals that I have met during my time at Metropolitan State University Denver. Through my Classes with the full-time professors, the professionals/ adjunct professors, and my work experience with Xuma Communications during my internship, I have formed a good network of people in Denver from whom to learn and grow. Additionally, I’ve done a lot of research about different firms around town and have been exceedingly impressed and inspired by the work done at Cactus and Sukle, as well as Genghis Kern and Ink Lounge. 

The influence of these figures can most definitely be seen throughout my work. From direct reference to the subtleties in approach to the philosophies that I tend to pull from when I approach a project I pull from all of these figures. The amalgamation of all of these influences constantly weight on my consciousness and thought process. I feel an immense responsibility to the traditions of my chosen field, and through my appreciation of all of these artists and designers I feel a connection to this important institution.