Three rocks with colourful pictures of mountains pasted onto them.

[ ... Domesticated, sculptures, 2018. ]

A huge amount of think black lines.

[ ... Hyperlinked, web-extension, 2018. A web-extension that links every hyperlink on a webpage to every other hyperlink, while hiding everything else from sight. The links still function however, and so the extension enables a new browsing experience, one where not the content, but the underlying structure of the internet, is what is browsed through. ]

An assembly of a laptop, a projector and a printer, producing stained prints.

[ ... Untitled Machine, system, 2018. ]

Backwards slanted letters.

[ ... Skulking, typeface, 2019. I would prefer not to. ]

A disassembled and sculpted book, exhibited on a yellow floor.

[ ... Damocles' Book, book/sculpture, 2019. ]

Colourful pictures of abandoned sceneries, text.

[ ... Traces, magazine, 2018. A collection of abandoned, but not torn down, movie-sets, accompanied by their address and exact location on earth in coordinates. ]

Long lines of text on somewhat transparent paper, gaps

[ ... Finnegans Wake as a Lyrical Score, booksection, 2019. Redesign Finnegans Wake, while reading this book by James Joyce, it struck me that the text started living more for me when I read it out loud, as if a spoken word piece or a hiphop-lyric. This lyrical experience became the standing ground for the design. Extending all spaces following punctuation marks, both makes the text breath more visually, as well as it enables a literal space to breath while reciting it. To further stress certain modes of expression, sentences ending with exclamation marks, question marks, or in between brackets, all got their own style and intonation as well. The extremely wide pages that came about due to this treatment of the text, are placed below, instead of aside of each other. To so live up to the condition of the author that all pages have a designated word to start and end with, a condition that prevents any change in the amount of text per page. ]

Messy notes that have been corrected, scribbling.

[ ... Shorts, booksection, 2018. The american journalist and writer Graham Meyer wrote four short pieces on shorthand, private language and artificial language. I was struck by the beauty of both the written pieces and the phenomenon of shorthand itself. Being a horrible fast-writer myself, I decided to let the unavoidable mistakes I would make by retyping the text at high-speed, and the subsequent needed corrections, determine the form of the pages. A strategy that, I felt, had to be performed on a typewriter, it being a medium doesn't have a command-Z key. ]

Parts and outlines of a circle, a line of text.

[ ... Phases, poster, 2018. Poster for Sam, watching the moon phasing. ]


[ ... Letterthings, type-design/posters, 2018. Letters and posters created for a hypothetical exhibition of the work Jaap Kroneman. ]

A bunch of drawings, a book, and a big wad of paper, exhibited on a floor.

[ ... Tracing Nowhere, drawings, a walk, a sculpture, 2019. Our daily environments determine where we are, where we have been, and where we will be. Every environment, either digital or analog, macro or micro, has a structure, a structure that shapes our movements, and in which, ultimately, no real shortcuts exist. The practice of cartography aims to visually map these structures, and hereby presents us with —seemingly endless— possibilities of movement. Giving us the outline of our future movements, over which we sense to be in full control once we pick up that pencil and fill in the blanks. “Tracing Nowhere” explores how our understanding of movement changes once we swap cartography and its focus on all that is possible, for tracing, and drawing out what is actual. Inverting the map which leaves blank where we can go, to a drawing which leaves blank where we didn’t go, and which hereby, rather than presenting us with possibilities, leaves us with the impossibilities. ]

A screenprint-system, prints of a room and a text, blue and red.

[ ... Silkograph Stenoscreen, system, 2018. Attempting to visualize my fascination with shorthand and stenography in screenprints, I stumbled upon the problem that I just cannot write fast enough to record everything that goes on around me. Since learning actual shorthand is a long and tedious process, I had to find a quicker solution. Which I found in hooking up an external display to my laptop, and using that as a direct exposure of the silkscreens. Thus enabling me to both live imprint text as I type it, as well as using my webcam-footage as moving stencil. Resulting in recordings of a room in both text and image. ]

A punctuated photograph.

[ ... In Parenthesis, poster, 2017. Poster designed for and displayed on the annual poster contest held by the 3 second galley in the Hague. There is no shortage of opinions in our society, everyone has something to say about nearly everything, however close or far related to them. Of course, everyone may have their thoughts on everything, so have I, but when everything has to be said, always, everywhere, and when every statement made leads to counterstatements of everyone, no matter the depth of their insight into the topic. This also leads to some sort of a inflation of the value of an opinion. “Well, but that is only your opinion,” gets easier and easier to shout out, without actually considering someone's viewpoint or relation to a topic. In this kind of climate, sadly, everything become relative. Up to a point where not even setting yourself in fire will be enough to be taken seriously. ]

Yellow circles on backgrounds that vary in colour.

[ ... Two Stools, Three Paintings, paintings, 2017. ]

[ about Joost Vullings. Graphic design. Working with lots of enthusiasm on self-iniated projects that explore our media- and image environement. Meanwhile always welcoming commissions and collaborations. Education: BA Graphic Design, ArtEZ Arnhem, 2016 ~ present; BA Fine Arts, ZhdK Zurich, 2019 ~ 2020; Foundation Year Art & Design, AKV St. Joost Den Bosch/Breda, 2015 ~ 2016. Contact: moc.liamtoh@pc_tsooj_hr / ]