Good paper never saved bad copy

Each product is a publication of mixed pages gleaned from international magazines and packaged into one of the original magazines, a space cut into it to host the new creation. The pages, cut blindly and in batches from the magazines, have been reassembled and combined into new compositions, some random and some calculated. The posters, each from a page of a cut magazine, are the remains of our destructive actions; the lack becomes central, the void becomes the result.

The technique applied in this project demonstrates an absolute disregard for content. We prove that the linear narrative found in magazines, which can be navigated by layout, direction, color management and flow, can be disrupted entirely by rendering these elements moot. We also prove, however, that new meaning can be discovered by accident, and new order by the violence of non-selection.

At what level can a layout function before becoming narrative? How do we confront images that are no longer structured to accommodate us? We deconstruct layers of meaning, not into separate elements, but into slices and glimpses of a sense that is no longer there.
Each product is a publication of mixed pages gleaned from international magazines and packaged into one of the original magazines, a space cut into it to host the new creation. The pages, cut blindly and in batches from the magazines, have been reassembled and combined into new compositions, some random and some calculated. The posters, each from a page of a cut magazine, are the remains of our destructive actions; the lack becomes central, the void becomes the result.

The technique applied in this project demonstrates an absolute disregard for content. We prove that the linear narrative found in magazines, which can be navigated by layout, direction, color management and flow, can be disrupted entirely by rendering these elements moot. We also prove, however, that new meaning can be discovered by accident, and new order by the violence of non-selection.

At what level can a layout function before becoming narrative? How do we confront images that are no longer structured to accommodate us? We deconstruct layers of meaning, not into separate elements, but into slices and glimpses of a sense that is no longer there.