Work inquiries: mail@dariusou.work or follow.

Worked with: 89plus, 0xSalon, Aftershock, Asian Film Archive, Asics, DesignSingapore Council, FACT Liverpool, Harper’s Bazaar, Haus der Kunst, Hypebeast, Hyperdub Records, Image Comics, Kaleidoscope, Moncler, Morisawa Fonts, Nike, NTU CCA Singapore, Rhizome, Tai Kwun Contemporary, & more. In collections of: Moravská galerie v Brně, Museum of Avant-garde Switzerland, & Singapore Art Museum. Selected for: Creative Circle Awards Singapore (Jury), Taiwan Ministry of Education TISDC (Jury), Golden Pin Design Award, Brno Biennial of Graphic Design, ADC Switzerland, Society of Typographic Arts Chicago (STA 100), Ed Fella MA-g Awards, TDC New York (Young Ones Jury), The One Club New York, & ADC New York (Young Guns 21).

More work: hyperpress (3D-printed books); part of ToNewEntities. Working from: #06-19, 50 Gambas Crescent, Singapore.

(Info)
/

CORPUS

is a fully 3D printed book exploring the relationships between materiality and mortality, dimensionality and causality; the afterlife of the codex. In the permanent collection of Singapore Art Museum.

Entombed within this codex are cross-sectional slices of open-source 3D models of trees, dispossessed of its volume in another dimension (3D), and presented as flat (2D) bodies. Framed as a hauntological artefact, the book is filled with lore and images on how 3D printing reconciles with the “death of print”. CORPUS explores the 3D printed book not as a successor but the afterlife of the paper book; a codex of another dimension.

/projects/form-and-agency/
/

Form & Agency

is a solo exhibition by artist Brandon Tay that explores the materiality of the digital. Presented on three stacks — the physical, the virtual, and live simulation components — the visual identity echoes the verticality of the stacks with a custom typeface and code logic. Shown in Yeo Workshop, Singapore.

The experimental variable typeface, As above, so below with elongated ascenders and descenders is capable of forming ‘vertical ligatures’, not with lateral letters but across lines of texts through stems of letterforms. This verticality is reflected through the placement of texts on edges of walls in the gallery space; of thresholds between spaces. Vertical ligatures challenging the linearity of languages; of words in lines; of thresholds between symbols and meanings. (Credits — Curator: Rafi Abdullah; Exhibition design: Amirul Nazree, set up w/ Nghia Phung; Website design and build: w/ Bảo Anh Bùi; Exhibition Photography: Jonathan Tan)