Madrid, 1996. He has a degree in Design from the Complutense University of Madrid and Hamburg University of Applied Sciences. He has developed his professional career as a graphic designer in Madrid and Copenhagen. His work is characterized by putting the role of the technology of the design process and personal relationships in crisis, with the goal of establishing an honest connection with the user. He is also the founder of the platform for creatives /KLVB/CLUB.
Share:
T/E/I analyses the capacity of the typography to condense characteristic features of visual culture in the determined space with the goal of articulating an identity. This project, developed around confinement in the spring of 2020, creates a dialogue between spaces: the Academy, where we spent a time confined, and the digital space, to which we were all obliged to resort to, to substitute the physical places in which we previously co-existed.
This dialogue is mediated by a typography inspired by the writing on the tombstone of Bramante’s Tempietto. From the maximum according to what the eye reads best, out of what it is used to reading, I will push the limits and put this ancient Roman Typography in crisis by adapting it to the resolution of the screens of the first computers of low resolution, to understand the evolution of legibility in digital environments over the past three decades.
This graphic research becomes reality with a series of expository objects that approach the difficulties of physical representation of digital pieces. In these works, how the typography may play a main role in the creation of the identity in digital spaces with a spiritual end in mind, is presented.
After participating in a project in Bari, I decided to present a project to the Academy related with the south of Italy, so as to dedicate a sign of the affection that I feel towards it.
I initially did a series of research trips with the goal of developing a typography capable of evoking the graphic culture and the tradition of southern Italy. However, this process that was guided by intuition and the sensorial was curtailed when the period of quarantine was declared. I felt obliged to temporarily park it and focus on other places, specifically the space of the Academy. This brought me to collaborate with colleagues who enrichened my vision on this space and made me reconsider my relationship with it.
At the same time, it was easy to realise how we had changed the spaces in which we were developing to digital environments: instead of going to a bar, we made video calls; instead of going to the cinema, we registered on a streaming platform; instead of going shopping, we bought online, etc. I began to sketch, getting close to the design in a generative way, through digital tools that I, myself created. The combination of the place in which we were confined and the importance that the digital space took up, changed my project categorically. Anyways, those three pillars remained: typography, space, and identity.
I discovered a series of things that especially left their mark on me throughout these months, such as the step of BellaGamba, broccoletti, the prodotti per capelli Noah, the possibilities of Massimo Perimetro, the stop number 3 of the Via Crucis, seagull breeding, the Via dei Fori Imperiali deserted, a sunset at Tropea, a zabaione ice-cream, the illuminated signs of the buses of Catania, Marcellino del Calisto, just how incredible the colours of Raffaello are, el Hugo, the stone of Matera, or eating a pizza after going to Bricoman.