Without a View, 2020


More in Common, 2020



La Partecipazione Alle Idee
Group exhibition, 2010
Curated by Melissa Destino
Capo Di Lucca

Bologna, IT



Verenigde Sandbergen
Print magazine, 2010
With Lauren Grusenmeyer
Sandberg Instituut

Amsterdam, NL



IL FUT UN TEMPS OÙ
VOIR ÉTAIT LE SYNONYME DE SAVOIR, MAIS RIEN DE PLUS.

THERE WAS A TIME WHEN
SEEING WAS AKIN TO KNOWING. BUT NO MORE.


The more the happiness industry tries to see, the more it tries to read faces and spaces with numerical abstractions, the less it seems to know. It confuses smiles with happiness and makes all sorts of basic










Lasommedespasperdus.com
Digital book, 2020
Work by Daniel Canty
Montréal, QC


Contact sheet from the process of
photography direction




QU’EN EST-IL LORSQUE LA SURVEILLANCE NUMÉRIQUE DEVIENT UNE « BONNE » CHOSE ? LORSQU’ELLE EST « BONNE » POUR LA SANTÉ ET LE BONHEUR ?


WHAT HAPPENS WHEN DIGITAL SURVEILLANCE BECOMES “GOOD” FOR YOU, SO TO SPEAK? WHEN IT’S “GOOD” FOR YOUR HEALTH AND HAPPINESS?



Photography by Fred Ross

Toronto

Star


archive



Montréal, QC
A Solo Space For All to See, 2020, Essay on “the happiness industry” in the home under pandemic peril.

The Big Picture 
New Cities Foundation



Amsterdam, NL
These Are Still The Times, 2020, Interview with Pratt Institute professor Chris Lee, about ongoing economic crises and their effects on graphic art and education.

Design Dedication
 
Sandberg Instituut and Valiz



Paris, FR
Apprendre de LUST : mirroirs et folie numérique, 2018, Une remémoire épistolaire avec Greg J. Smith sur la dissolution du studio d’art et d’architecture néerlandais LUST.

Back Office
no. 2
Édition B42





Plana Pastoralem, 2019

Terra Nullius no. 1, 2019




Amsterdam, NL
Where The Image Flows: How Sidewalk Labs’ Public Relations Came To Dominate Journalism, 2019, Visual essay on how Google’s sister company pitched a “smart” city image for Toronto.

Failed Architecture
FA Foundation



Amsterdam, NL
On Criticism As A Fun Mechanism, 2013, Essay on how design and architecture criticism could be more fun and conversational—whether positive or negative.

Volume magazine
Archis Foundation



Amsterdam, NL
New City Myths, 2012, Essay on the visual culture of private towns as a key tool in the power brokering of architecture, real estate, and geopolitics.

Volume magazine
Archis Foundation





Ligna, 2019


Terra Nullius no. 2, 2019



New City Myths”
Visual essay, 2012
Edit by Brendan Cormier
Volume, Archis Foundation

Amsterdam, NL


Turrim, 2019





lies in his youthful “sunny ways”, and Eric Schmidt follows suit with his brand of “radical optimism”. Sunny. Confident. Cheerful. It’s the ideology of positive psychology upgraded to the level of public-private statecraft.”

Where The Image Flows
On Sidewalk Labs’ public relations in Toronto 
Failed Architecture, Amsterdam,
NL






En Cours
Documentaire visuel, 2017
École de design, UQAM

Montréal, QC




Artist in Residence”
Photography direction, 2013
Portrait by Norman Wong
Sculpture by Vanessa Maltese
Flare magazine

Toronto, CA




The Art of the Cutaway”
Art direction, 2015
Portrait of Shin Yoshikawa by Ryan Young
Apex magazine

Los Angeles, US


Handwriting in an Era of Glitter Text Generators”
Essay, Photo direction, 2017 
Portrait of Chef by Norman Wong
The Gradient by Walker Art Center 

Minneapolis, US




Writing, Visual identity, Website, 2019 to 2021
Founded by Jim Balsillie, Edit by Neve Peric
Code by Nicolas Roy at Folklore, Photography by Philip Cheung

Centre for Digital Rights
Toronto, CA



Centre for Digital Rights site 
2019 to 2021

Mobile view
Code by Nicolas Roy at Folklore



Centre for Digital Rights print advertisement
Writing, Art direction, 2020

Photography by Philip Cheung
Printed in Globe and Mail, Financial Post





On The Road to Jazz Fest”
Art direction, 2015
Photography by Norman Wong
Apex, New Orleans, US


PSYCHOLOGISTS AND DATA SCIENTISTS DOMINATE THE VOCABULARY OF THE HAPPINESS INDUSTRY. EVEN ECONOMISTS AT THE UNITED NATIONS.



WHY?



Résidence de recherche, 2018
Artexte, Montréal, QC


Série d’affiches
24 x 36 po


Artexte.ca

Detail of SAFE, Panel #4 of 4, Adrien Piper, 1990.

From Adrian Piper: Pretend.
New York, NY: Adrian Piper and John Weber Gallery, 1990.




Montréal, QC
A conversation with Michèle Champagne,” 2018, Written interview on the vocabulary of the happiness industry and the critical alternatives offered by art and architecture.

Articles
, Artexte



Toronto, CA
Greg Durrell: Design Canada, 2019, Film review of Design Canada as a specimen of Canada’s dominant colonial fiction—repackaged with modern design and happy house tunes.

C Magazine, C The Visual Arts Foundation




Something Like Desire, 2018


On The Road to Jazz Fest”
Art direction, 2015
Photography by Norman Wong
Photography direction by Catherine Dean
Apex magazine

New Orleans, US




Daar Zijn Wij Van
Print catalogue, 2010
with Brigiet van den Berg
VPRO, Hilversum, NL



Printed by Drukkerij SSP
Amsterdam, NL



VPRO postcards, 2010
Exhibited at Brakke Grond




Beste Jaarverslag, 2010
Awarded by Grafische Cultuurstichting
Exhibited at Pakhuis de Zwijger













Hazlitt magazine

Digital literary magazine, 2014
Edit by Chris Frey
Penguin Random House Canada
Website of the Year, National Magazine Awards, 2015

Toronto, CA



Hazlitt magazine, 2014
Mobile view

Code by Wayne Thayer
Built with WordPress

Hz application, 2014
Hazlitt image editing app
Code by Cedric Flazinski
Built with Processing




On The Road to Jazz Fest”
Art direction, 2015
Photography by Norman Wong
Photography direction by Catherine Dean
Apex magazine

New Orleans, US






Handwriting in an Era of Glitter Text Generators”
Essay, Photography direction, 2017
Photography by Norman Wong
The Gradient, Walker Art Center

Minneapolis, US