This series, originally called Counterblast - a nod to Marshall McLuhan's 1969 book of the same name - evolved from the deconstruction, graphically, of a word or phrase (which typically is the title of each piece) to produce a new visual language out of that process. For example, a word or a phrase like "Bedridden Icons" or "Invisible Archeology" or "McLuhan Was Right" is manipulated in a graphics program, manually altering the type, subtractively, or additively, to the point that it becomes illegible graphic elements. Sometimes what evolves is an outlined, topographic map-like imagery. A "typo-topography". Other times it's an almost architectural manifestation. Ultimately, the solid, fragmented remnants of the letters, the counters and broken serifs, offer a partial message, which conversely becomes the new visual language or dialog within the work. Language from the negation of language.

 

The Supercollider series is essentially the same concept excpet with logos and brand icons. The 'obvious' social commentary associated with a series of this nature takes a back seat in favor of a purely visual exploration. However, that interpretation is left up to the viewer.