“My graphic design for the arts ranges from my own experiments and work with artists on their projects to pieces for public galleries and arts organizations.”
Uncertain Futures Concatenation Machine is a book and web project in progress; it's a writing experiment where poems are created collaboratively with a semi-fictional AI entity, as well as a design project to bring form to the ever-shifting and potentially endless content that can come from the more automated aspect of the writing process for this work.
A book and print project for artist Gwenessa Lam called What Magic was exhibited at Glenbow Museum in 2018. The project began a couple of years prior when Gwenessa found an intriguing image and discovered the strange variety of contexts for its copies when conducting a Google search.
Gwenessa Lam evolved the project through drawing, etching, prints and an artist's book. Lisa Marshall worked with her to develop the typographic approach for the text portion of the project, eventually providing the book design. The prints were designed collaboratively and were shown with Gwenessa's prints of her drawing of the image, along with a central display structure for the book. The black-on-black ember-like feel for the book cover was reflected in the sombre tone of the installation.
“While working on a number of projects for Surrey Art Gallery over the last few years, I've been able to get to know the organization well, working with the team to evolve the logo to a more contemporary look and developing the identity system into a larger brand refresh, including a family of logos for programming such as UrbanScreen, Surrey Art Gallery 40 and Family Sunday.”
The Family Sunday project became an identity system under the Surrey Art Gallery umbrella that enables the gallery to produce posters and other materials in-house for regular events. The work from Family Sunday contributed to the design development of other public outreach projects such as activity booklets, banners and buttons, with a focus on childrens' activities and programming.
“I was both an editor and the graphic designer on a recent book project accompanying an exhibition and symposium. The publication In the Wake of the Komagata Maru allowed me a particularly deep connection with the content, working closely with the curator, writers and artists. A photograph of mine provides the cover background image.”
Some sample posters for Surrey Art Gallery for a variety of events, projects and exhibitions can be viewed below. More work for the gallery can be viewed on the overview page for Surrey Art Gallery.
Another favourite project is the logo, cards and website for Jess Green's weaving studio A Little Weather. Based in North Carolina, Jess keeps goats and sheep who produce the fibres that she then spins into wool to weave into her beautiful textiles.
Other graphic design for arts and culture organizations over the years includes work for 221a, Helen Pitt Gallery, Republic Gallery, University of British Columbia's Art History and Visual Arts department and Basic Inquiry (The Vancouver Life Drawing Society).
“As a student at Emily Carr Institute of Art and Design in the late '90s and early 2000s, I was really into both art and design, so I regularly crossed the road between the departments, taking classes in design while trying just about every medium going at the time on the art side.”
An interactive project with two fellow design students and artist Char Davies in 2000 brought us to the exhibition 010101: Art in Technological Times at SFMOMA to experience Davies' incredible virtual reality work. “It turned out to be an unforgetable experience that sparked my interest in human-computer interaction and the potential for VR; I continue imagining possibilities for unusual interfaces. I went on to study art history at the University of British Columbia, earning an MA in 2008, so maybe my interest in the past connects up to a fascination with possibilities for the future. I continue to be passionate about the many aspects of the art and design I've encountered over the years.”