My objective for this project was to create an expressive and experimental typographic exploration of Jorge Borges’ 1943 short story “The Secret Miracle.” My process was divided into three stages. First, I researched the story’s historical context of Prague during the Nazi occupation. Next, I used analog and digital processes to create images, textures, and faux-historical artifacts, such as an arrest warrant, mid-century book cover designs, and era-specific street signage, to integrate as supporting material for the story. Finally, I created a contemporary typographic interpretation of Borges’ story.
Curator Jessica Cochran asked 13 emerging and mid-career artists to get to know Paul Halupka in order to create work in dialogue with his identity. Embracing less representational approaches to portraiture in favor of more discursive ones, artists’ projects reflect poetic and relational approaches to the depiction of Paul’s identity through painting, sculpture, video, photography and mixed media installation.
My approach to designing the catalog mirrored the theme of the show. I researched Paul Halupka online, looking through hundreds of Facebook photos, blog posts, and data scattered across various websites that gave a fractured glimpse of who Paul Halupka is. I used that data to generate a series of info-graphics and illustrations that punctuate the curatorial essays.
Curated by Jefferson Godard for the Mission Gallery, Overkill was a show of video art that examined the moment in which our bodies are barraged in the active urban environment by the over saturation of sounds and images. The catalog design represented the idea of overkill by employing 3 separate covers printed on 3 different papers.
My objective for this project was to create an expressive and experimental typographic exploration of Jorge Borges’ 1943 short story “The Secret Miracle.” My process was divided into three stages. First, I researched the story’s historical context of Prague during the Nazi occupation. Next, I used analog and digital processes to create images, textures, and faux-historical artifacts, such as an arrest warrant, mid-century book cover designs, and era-specific street signage, to integrate as supporting material for the story. Finally, I created a contemporary typographic interpretation of Borges’ story.
My objective for this project was to create an expressive and experimental typographic exploration of Jorge Borges’ 1943 short story “The Secret Miracle.” My process was divided into three stages. First, I researched the story’s historical context of Prague during the Nazi occupation. Next, I used analog and digital processes to create images, textures, and faux-historical artifacts, such as an arrest warrant, mid-century book cover designs, and era-specific street signage, to integrate as supporting material for the story. Finally, I created a contemporary typographic interpretation of Borges’ story.
My objective for this project was to create an expressive and experimental typographic exploration of Jorge Borges’ 1943 short story “The Secret Miracle.” My process was divided into three stages. First, I researched the story’s historical context of Prague during the Nazi occupation. Next, I used analog and digital processes to create images, textures, and faux-historical artifacts, such as an arrest warrant, mid-century book cover designs, and era-specific street signage, to integrate as supporting material for the story. Finally, I created a contemporary typographic interpretation of Borges’ story.
Curator Jessica Cochran asked 13 emerging and mid-career artists to get to know Paul Halupka in order to create work in dialogue with his identity. Embracing less representational approaches to portraiture in favor of more discursive ones, artists’ projects reflect poetic and relational approaches to the depiction of Paul’s identity through painting, sculpture, video, photography and mixed media installation.
My approach to designing the catalog mirrored the theme of the show. I researched Paul Halupka online, looking through hundreds of Facebook photos, blog posts, and data scattered across various websites that gave a fractured glimpse of who Paul Halupka is. I used that data to generate a series of info-graphics and illustrations that punctuate the curatorial essays.
My objective for this project was to create an expressive and experimental typographic exploration of Jorge Borges’ 1943 short story “The Secret Miracle.” My process was divided into three stages. First, I researched the story’s historical context of Prague during the Nazi occupation. Next, I used analog and digital processes to create images, textures, and faux-historical artifacts, such as an arrest warrant, mid-century book cover designs, and era-specific street signage, to integrate as supporting material for the story. Finally, I created a contemporary typographic interpretation of Borges’ story.
My objective for this project was to create an expressive and experimental typographic exploration of Jorge Borges’ 1943 short story “The Secret Miracle.” My process was divided into three stages. First, I researched the story’s historical context of Prague during the Nazi occupation. Next, I used analog and digital processes to create images, textures, and faux-historical artifacts, such as an arrest warrant, mid-century book cover designs, and era-specific street signage, to integrate as supporting material for the story. Finally, I created a contemporary typographic interpretation of Borges’ story.
My objective for this project was to create an expressive and experimental typographic exploration of Jorge Borges’ 1943 short story “The Secret Miracle.” My process was divided into three stages. First, I researched the story’s historical context of Prague during the Nazi occupation. Next, I used analog and digital processes to create images, textures, and faux-historical artifacts, such as an arrest warrant, mid-century book cover designs, and era-specific street signage, to integrate as supporting material for the story. Finally, I created a contemporary typographic interpretation of Borges’ story.
My objective for this project was to create an expressive and experimental typographic exploration of Jorge Borges’ 1943 short story “The Secret Miracle.” My process was divided into three stages. First, I researched the story’s historical context of Prague during the Nazi occupation. Next, I used analog and digital processes to create images, textures, and faux-historical artifacts, such as an arrest warrant, mid-century book cover designs, and era-specific street signage, to integrate as supporting material for the story. Finally, I created a contemporary typographic interpretation of Borges’ story.
My objective for this project was to create an expressive and experimental typographic exploration of Jorge Borges’ 1943 short story “The Secret Miracle.” My process was divided into three stages. First, I researched the story’s historical context of Prague during the Nazi occupation. Next, I used analog and digital processes to create images, textures, and faux-historical artifacts, such as an arrest warrant, mid-century book cover designs, and era-specific street signage, to integrate as supporting material for the story. Finally, I created a contemporary typographic interpretation of Borges’ story.
My objective for this project was to create an expressive and experimental typographic exploration of Jorge Borges’ 1943 short story “The Secret Miracle.” My process was divided into three stages. First, I researched the story’s historical context of Prague during the Nazi occupation. Next, I used analog and digital processes to create images, textures, and faux-historical artifacts, such as an arrest warrant, mid-century book cover designs, and era-specific street signage, to integrate as supporting material for the story. Finally, I created a contemporary typographic interpretation of Borges’ story.
My objective for this project was to create an expressive and experimental typographic exploration of Jorge Borges’ 1943 short story “The Secret Miracle.” My process was divided into three stages. First, I researched the story’s historical context of Prague during the Nazi occupation. Next, I used analog and digital processes to create images, textures, and faux-historical artifacts, such as an arrest warrant, mid-century book cover designs, and era-specific street signage, to integrate as supporting material for the story. Finally, I created a contemporary typographic interpretation of Borges’ story.
My objective for this project was to create an expressive and experimental typographic exploration of Jorge Borges’ 1943 short story “The Secret Miracle.” My process was divided into three stages. First, I researched the story’s historical context of Prague during the Nazi occupation. Next, I used analog and digital processes to create images, textures, and faux-historical artifacts, such as an arrest warrant, mid-century book cover designs, and era-specific street signage, to integrate as supporting material for the story. Finally, I created a contemporary typographic interpretation of Borges’ story.
Curator Jessica Cochran asked 13 emerging and mid-career artists to get to know Paul Halupka in order to create work in dialogue with his identity. Embracing less representational approaches to portraiture in favor of more discursive ones, artists’ projects reflect poetic and relational approaches to the depiction of Paul’s identity through painting, sculpture, video, photography and mixed media installation.
My approach to designing the catalog mirrored the theme of the show. I researched Paul Halupka online, looking through hundreds of Facebook photos, blog posts, and data scattered across various websites that gave a fractured glimpse of who Paul Halupka is. I used that data to generate a series of info-graphics and illustrations that punctuate the curatorial essays.
Curated by Jefferson Godard for the Mission Gallery, Overkill was a show of video art that examined the moment in which our bodies are barraged in the active urban environment by the over saturation of sounds and images. The catalog design represented the idea of overkill by employing 3 separate covers printed on 3 different papers.
The Abundant Archive is an independent curatorial project for the realization, collection and dissemination of new art works organized by Jessica Cochran.
Curator Jessica Cochran asked 13 emerging and mid-career artists to get to know Paul Halupka in order to create work in dialogue with his identity. Embracing less representational approaches to portraiture in favor of more discursive ones, artists’ projects reflect poetic and relational approaches to the depiction of Paul’s identity through painting, sculpture, video, photography and mixed media installation.
My approach to designing the catalog mirrored the theme of the show. I researched Paul Halupka online, looking through hundreds of Facebook photos, blog posts, and data scattered across various websites that gave a fractured glimpse of who Paul Halupka is. I used that data to generate a series of info-graphics and illustrations that punctuate the curatorial essays.
Curator Jessica Cochran asked 13 emerging and mid-career artists to get to know Paul Halupka in order to create work in dialogue with his identity. Embracing less representational approaches to portraiture in favor of more discursive ones, artists’ projects reflect poetic and relational approaches to the depiction of Paul’s identity through painting, sculpture, video, photography and mixed media installation.
My approach to designing the catalog mirrored the theme of the show. I researched Paul Halupka online, looking through hundreds of Facebook photos, blog posts, and data scattered across various websites that gave a fractured glimpse of who Paul Halupka is. I used that data to generate a series of info-graphics and illustrations that punctuate the curatorial essays.
Curated by Jefferson Godard for the Mission Gallery, Overkill was a show of video art that examined the moment in which our bodies are barraged in the active urban environment by the over saturation of sounds and images. The catalog design represented the idea of overkill by employing 3 separate covers printed on 3 different papers.
My objective for this project was to create an expressive and experimental typographic exploration of Jorge Borges’ 1943 short story “The Secret Miracle.” My process was divided into three stages. First, I researched the story’s historical context of Prague during the Nazi occupation. Next, I used analog and digital processes to create images, textures, and faux-historical artifacts, such as an arrest warrant, mid-century book cover designs, and era-specific street signage, to integrate as supporting material for the story. Finally, I created a contemporary typographic interpretation of Borges’ story.
My objective for this project was to create an expressive and experimental typographic exploration of Jorge Borges’ 1943 short story “The Secret Miracle.” My process was divided into three stages. First, I researched the story’s historical context of Prague during the Nazi occupation. Next, I used analog and digital processes to create images, textures, and faux-historical artifacts, such as an arrest warrant, mid-century book cover designs, and era-specific street signage, to integrate as supporting material for the story. Finally, I created a contemporary typographic interpretation of Borges’ story.
Curator Jessica Cochran asked 13 emerging and mid-career artists to get to know Paul Halupka in order to create work in dialogue with his identity. Embracing less representational approaches to portraiture in favor of more discursive ones, artists’ projects reflect poetic and relational approaches to the depiction of Paul’s identity through painting, sculpture, video, photography and mixed media installation.
My approach to designing the catalog mirrored the theme of the show. I researched Paul Halupka online, looking through hundreds of Facebook photos, blog posts, and data scattered across various websites that gave a fractured glimpse of who Paul Halupka is. I used that data to generate a series of info-graphics and illustrations that punctuate the curatorial essays.
My objective for this project was to create an expressive and experimental typographic exploration of Jorge Borges’ 1943 short story “The Secret Miracle.” My process was divided into three stages. First, I researched the story’s historical context of Prague during the Nazi occupation. Next, I used analog and digital processes to create images, textures, and faux-historical artifacts, such as an arrest warrant, mid-century book cover designs, and era-specific street signage, to integrate as supporting material for the story. Finally, I created a contemporary typographic interpretation of Borges’ story.
My objective for this project was to create an expressive and experimental typographic exploration of Jorge Borges’ 1943 short story “The Secret Miracle.” My process was divided into three stages. First, I researched the story’s historical context of Prague during the Nazi occupation. Next, I used analog and digital processes to create images, textures, and faux-historical artifacts, such as an arrest warrant, mid-century book cover designs, and era-specific street signage, to integrate as supporting material for the story. Finally, I created a contemporary typographic interpretation of Borges’ story.
My objective for this project was to create an expressive and experimental typographic exploration of Jorge Borges’ 1943 short story “The Secret Miracle.” My process was divided into three stages. First, I researched the story’s historical context of Prague during the Nazi occupation. Next, I used analog and digital processes to create images, textures, and faux-historical artifacts, such as an arrest warrant, mid-century book cover designs, and era-specific street signage, to integrate as supporting material for the story. Finally, I created a contemporary typographic interpretation of Borges’ story.
My objective for this project was to create an expressive and experimental typographic exploration of Jorge Borges’ 1943 short story “The Secret Miracle.” My process was divided into three stages. First, I researched the story’s historical context of Prague during the Nazi occupation. Next, I used analog and digital processes to create images, textures, and faux-historical artifacts, such as an arrest warrant, mid-century book cover designs, and era-specific street signage, to integrate as supporting material for the story. Finally, I created a contemporary typographic interpretation of Borges’ story.
My objective for this project was to create an expressive and experimental typographic exploration of Jorge Borges’ 1943 short story “The Secret Miracle.” My process was divided into three stages. First, I researched the story’s historical context of Prague during the Nazi occupation. Next, I used analog and digital processes to create images, textures, and faux-historical artifacts, such as an arrest warrant, mid-century book cover designs, and era-specific street signage, to integrate as supporting material for the story. Finally, I created a contemporary typographic interpretation of Borges’ story.
My objective for this project was to create an expressive and experimental typographic exploration of Jorge Borges’ 1943 short story “The Secret Miracle.” My process was divided into three stages. First, I researched the story’s historical context of Prague during the Nazi occupation. Next, I used analog and digital processes to create images, textures, and faux-historical artifacts, such as an arrest warrant, mid-century book cover designs, and era-specific street signage, to integrate as supporting material for the story. Finally, I created a contemporary typographic interpretation of Borges’ story.
My objective for this project was to create an expressive and experimental typographic exploration of Jorge Borges’ 1943 short story “The Secret Miracle.” My process was divided into three stages. First, I researched the story’s historical context of Prague during the Nazi occupation. Next, I used analog and digital processes to create images, textures, and faux-historical artifacts, such as an arrest warrant, mid-century book cover designs, and era-specific street signage, to integrate as supporting material for the story. Finally, I created a contemporary typographic interpretation of Borges’ story.
Curator Jessica Cochran asked 13 emerging and mid-career artists to get to know Paul Halupka in order to create work in dialogue with his identity. Embracing less representational approaches to portraiture in favor of more discursive ones, artists’ projects reflect poetic and relational approaches to the depiction of Paul’s identity through painting, sculpture, video, photography and mixed media installation.
My approach to designing the catalog mirrored the theme of the show. I researched Paul Halupka online, looking through hundreds of Facebook photos, blog posts, and data scattered across various websites that gave a fractured glimpse of who Paul Halupka is. I used that data to generate a series of info-graphics and illustrations that punctuate the curatorial essays.
Curator Jessica Cochran asked 13 emerging and mid-career artists to get to know Paul Halupka in order to create work in dialogue with his identity. Embracing less representational approaches to portraiture in favor of more discursive ones, artists’ projects reflect poetic and relational approaches to the depiction of Paul’s identity through painting, sculpture, video, photography and mixed media installation.
My approach to designing the catalog mirrored the theme of the show. I researched Paul Halupka online, looking through hundreds of Facebook photos, blog posts, and data scattered across various websites that gave a fractured glimpse of who Paul Halupka is. I used that data to generate a series of info-graphics and illustrations that punctuate the curatorial essays.
Curator Jessica Cochran asked 13 emerging and mid-career artists to get to know Paul Halupka in order to create work in dialogue with his identity. Embracing less representational approaches to portraiture in favor of more discursive ones, artists’ projects reflect poetic and relational approaches to the depiction of Paul’s identity through painting, sculpture, video, photography and mixed media installation.
My approach to designing the catalog mirrored the theme of the show. I researched Paul Halupka online, looking through hundreds of Facebook photos, blog posts, and data scattered across various websites that gave a fractured glimpse of who Paul Halupka is. I used that data to generate a series of info-graphics and illustrations that punctuate the curatorial essays.
Curator Jessica Cochran asked 13 emerging and mid-career artists to get to know Paul Halupka in order to create work in dialogue with his identity. Embracing less representational approaches to portraiture in favor of more discursive ones, artists’ projects reflect poetic and relational approaches to the depiction of Paul’s identity through painting, sculpture, video, photography and mixed media installation.
My approach to designing the catalog mirrored the theme of the show. I researched Paul Halupka online, looking through hundreds of Facebook photos, blog posts, and data scattered across various websites that gave a fractured glimpse of who Paul Halupka is. I used that data to generate a series of info-graphics and illustrations that punctuate the curatorial essays.
Curated by Jefferson Godard for the Mission Gallery, Overkill was a show of video art that examined the moment in which our bodies are barraged in the active urban environment by the over saturation of sounds and images. The catalog design represented the idea of overkill by employing 3 separate covers printed on 3 different papers.
Curator Jessica Cochran asked 13 emerging and mid-career artists to get to know Paul Halupka in order to create work in dialogue with his identity. Embracing less representational approaches to portraiture in favor of more discursive ones, artists’ projects reflect poetic and relational approaches to the depiction of Paul’s identity through painting, sculpture, video, photography and mixed media installation.
My approach to designing the catalog mirrored the theme of the show. I researched Paul Halupka online, looking through hundreds of Facebook photos, blog posts, and data scattered across various websites that gave a fractured glimpse of who Paul Halupka is. I used that data to generate a series of info-graphics and illustrations that punctuate the curatorial essays.
Curator Jessica Cochran asked 13 emerging and mid-career artists to get to know Paul Halupka in order to create work in dialogue with his identity. Embracing less representational approaches to portraiture in favor of more discursive ones, artists’ projects reflect poetic and relational approaches to the depiction of Paul’s identity through painting, sculpture, video, photography and mixed media installation.
My approach to designing the catalog mirrored the theme of the show. I researched Paul Halupka online, looking through hundreds of Facebook photos, blog posts, and data scattered across various websites that gave a fractured glimpse of who Paul Halupka is. I used that data to generate a series of info-graphics and illustrations that punctuate the curatorial essays.
Curator Jessica Cochran asked 13 emerging and mid-career artists to get to know Paul Halupka in order to create work in dialogue with his identity. Embracing less representational approaches to portraiture in favor of more discursive ones, artists’ projects reflect poetic and relational approaches to the depiction of Paul’s identity through painting, sculpture, video, photography and mixed media installation.
My approach to designing the catalog mirrored the theme of the show. I researched Paul Halupka online, looking through hundreds of Facebook photos, blog posts, and data scattered across various websites that gave a fractured glimpse of who Paul Halupka is. I used that data to generate a series of info-graphics and illustrations that punctuate the curatorial essays.
My objective for this project was to create an expressive and experimental typographic exploration of Jorge Borges’ 1943 short story “The Secret Miracle.” My process was divided into three stages. First, I researched the story’s historical context of Prague during the Nazi occupation. Next, I used analog and digital processes to create images, textures, and faux-historical artifacts, such as an arrest warrant, mid-century book cover designs, and era-specific street signage, to integrate as supporting material for the story. Finally, I created a contemporary typographic interpretation of Borges’ story.
My objective for this project was to create an expressive and experimental typographic exploration of Jorge Borges’ 1943 short story “The Secret Miracle.” My process was divided into three stages. First, I researched the story’s historical context of Prague during the Nazi occupation. Next, I used analog and digital processes to create images, textures, and faux-historical artifacts, such as an arrest warrant, mid-century book cover designs, and era-specific street signage, to integrate as supporting material for the story. Finally, I created a contemporary typographic interpretation of Borges’ story.
Curated by Jefferson Godard for the Mission Gallery, Overkill was a show of video art that examined the moment in which our bodies are barraged in the active urban environment by the over saturation of sounds and images. The catalog design represented the idea of overkill by employing 3 separate covers printed on 3 different papers.
My objective for this project was to create an expressive and experimental typographic exploration of Jorge Borges’ 1943 short story “The Secret Miracle.” My process was divided into three stages. First, I researched the story’s historical context of Prague during the Nazi occupation. Next, I used analog and digital processes to create images, textures, and faux-historical artifacts, such as an arrest warrant, mid-century book cover designs, and era-specific street signage, to integrate as supporting material for the story. Finally, I created a contemporary typographic interpretation of Borges’ story.
My objective for this project was to create an expressive and experimental typographic exploration of Jorge Borges’ 1943 short story “The Secret Miracle.” My process was divided into three stages. First, I researched the story’s historical context of Prague during the Nazi occupation. Next, I used analog and digital processes to create images, textures, and faux-historical artifacts, such as an arrest warrant, mid-century book cover designs, and era-specific street signage, to integrate as supporting material for the story. Finally, I created a contemporary typographic interpretation of Borges’ story.
My objective for this project was to create an expressive and experimental typographic exploration of Jorge Borges’ 1943 short story “The Secret Miracle.” My process was divided into three stages. First, I researched the story’s historical context of Prague during the Nazi occupation. Next, I used analog and digital processes to create images, textures, and faux-historical artifacts, such as an arrest warrant, mid-century book cover designs, and era-specific street signage, to integrate as supporting material for the story. Finally, I created a contemporary typographic interpretation of Borges’ story.
My objective for this project was to create an expressive and experimental typographic exploration of Jorge Borges’ 1943 short story “The Secret Miracle.” My process was divided into three stages. First, I researched the story’s historical context of Prague during the Nazi occupation. Next, I used analog and digital processes to create images, textures, and faux-historical artifacts, such as an arrest warrant, mid-century book cover designs, and era-specific street signage, to integrate as supporting material for the story. Finally, I created a contemporary typographic interpretation of Borges’ story.
Curated by Jefferson Godard for the Mission Gallery, Overkill was a show of video art that examined the moment in which our bodies are barraged in the active urban environment by the over saturation of sounds and images. The catalog design represented the idea of overkill by employing 3 separate covers printed on 3 different papers.
My objective for this project was to create an expressive and experimental typographic exploration of Jorge Borges’ 1943 short story “The Secret Miracle.” My process was divided into three stages. First, I researched the story’s historical context of Prague during the Nazi occupation. Next, I used analog and digital processes to create images, textures, and faux-historical artifacts, such as an arrest warrant, mid-century book cover designs, and era-specific street signage, to integrate as supporting material for the story. Finally, I created a contemporary typographic interpretation of Borges’ story.
My objective for this project was to create an expressive and experimental typographic exploration of Jorge Borges’ 1943 short story “The Secret Miracle.” My process was divided into three stages. First, I researched the story’s historical context of Prague during the Nazi occupation. Next, I used analog and digital processes to create images, textures, and faux-historical artifacts, such as an arrest warrant, mid-century book cover designs, and era-specific street signage, to integrate as supporting material for the story. Finally, I created a contemporary typographic interpretation of Borges’ story.
The Abundant Archive is an independent curatorial project for the realization, collection and dissemination of new art works organized by Jessica Cochran.
My objective for this project was to create an expressive and experimental typographic exploration of Jorge Borges’ 1943 short story “The Secret Miracle.” My process was divided into three stages. First, I researched the story’s historical context of Prague during the Nazi occupation. Next, I used analog and digital processes to create images, textures, and faux-historical artifacts, such as an arrest warrant, mid-century book cover designs, and era-specific street signage, to integrate as supporting material for the story. Finally, I created a contemporary typographic interpretation of Borges’ story.
