Graphic Interruptions is a photographic project that investigates graphic design in shared environments that has been interrupted in some way. These interruptions can come in many forms and be the result of a variety of sources. What interests me in these observations is how meaning may be changed from that intended by the hand of the originator. This essay, first published in May 2016 as an introduction to a limited edition book of research photographs, sets out to explore the contexts behind the project.
Graphic Interruptions is an ongoing project; follow the hashtag #graphicinterruptions on Instagram or Twitter.
Graphic Interruptions: the essay
As a graphic design educator, practitioner and academic it is difficult for me not to notice items of visual communication that I am surrounded by on a daily basis, especially given the ubiquity of graphic design in our society. Such a broad statement could demand a list of examples to qualify it, but to provide one would make this an endless essay. If proof is needed, a quick glance around your current location should provide many examples of informational or persuasive messages trying to communicate something through the use of type and / or image. Whether these are produced by a creative design studio or by an untutored hand on a home computer, numerous graphic communications insert themselves in to our lives in a pervasive manner.
PhotoEast, Suffolk’s first festival of photography was launched this week in Ipswich and can claim to be a major success, even within its first few days of existence. The half-mile walk along Ipswich’s waterfront from DanceEast to Cult Cafe brings dramatic images from around the world to this small Suffolk town. Local history and Ipswich life are presented alongside contemporary photography as part of the fabric of the waterside architecture. There is even a projection room inside a shipping container at the far end of the marina.
Last week The Cabinet of Curiosities caravan pulled up outside University Campus Suffolk to coincide with an exhibition of the same project in UCS’s Waterfront Gallery.
This visit and exhibition is the culmination of a year long project by UCS Fine Art Senior Lecturer Jane Watt. Jane and her bright blue caravan have visited various locations, and in particular many around Cambridge throughout the Autumn of 2014, providing an opportunity for people to come and document curiosities via cyanotypes. “At each location my assistant Amy Sage and I went through the same ritual: paper ready, aprons on, lights on,” says Jane. “The blue door is opened, the sign put outside inviting people to ‘Bring in your curious object’. Each venue brought many new visitors with unexpected objects and related unique tales.”
Earlier last month few could have escaped the surprise announcement of a new David Bowie album, scheduled for a March release, titled The Next Day.
The artwork dropped with almost as much of a shock, to some, as the album. The artwork places a white square over the original iconic cover of “Heroes”, Bowie’s 1977 collaboration with Brian Eno which is considered by many as one of his best works. While this was sacrilege to some, others, along with myself, thought it a brave masterstroke by Jonathan Barnbrook, who has worked with David Bowie for the last 10 years.
David Bowie – The Next Day. Sleeve by Jonathan Barnbrook, 2013
Yesterday, Lucienne Roberts and Rebecca Wright of GraphicDesign& put a call out for people to record everyday occurrences of graphic design in the context within which they found them. In a pop-up lab at the Design Museum, they received tweets of photographs of graphic design to go towards a research project titled Everything, which endeavours to prove how interconnected graphic design is with, well, everything.