I feel I can tap into an almost boundless amount of energy and enthusiasm for working with letters. I’m not sure I want to be a type designer, but often when I should be working on something else, it’s what I’ll be doing instead. Each character represents a moment of joy and escape. I’ve come to call this unorthodox work ethic procrastiworking. It’s not quite leisure, but not quite work either. Maybe it’s what I would do in a world without work.

This publication assembles some of the critical results of a study of a contaminated site in Rejmyre, in the form of a series of artworks. Each work presents its own set of questions and challenges to constituting the act of cleaning up and the definition of the waste itself.

Initially drawn as part of a book design commission for the artist Signe Johannessen. Her work speculates in hybrid bodies, historical paraphrases and the potentials of the posthumous. In some of her recent installation based works, she uses, among other things, animal bones and hides as material. With this in mind, the typeface takes on a bone-like texture with the underlying skeleton echoing Vivaldi and Chancery. The choice in historical models is grounded in the typographic clichés around life and mortality (weddings, funerals, etc.), while also aiming at subverting a genre often associated with stereotypical notions of femininity.

Selected for The Most Beautiful Books in Norway in 2022: A prismatic collection of some of the dialogues, discussions and contexts that Signe Johannessen’s artistic practice has been part of in recent years. With the help of many different readings and interpretations that revolve around her artworks, the book aims to shine a light on the artist’s exploration of care practices and kinship across species.

An ongoing collaboration for various exhibitions and events. Often accompanied by additional printed matter or exhibition graphics, which I’m still in the process of documenting.

A heavy display typeface with very slim counters. Working backward, from the outside in, gives it a bold and chiseled look. The uppercase is not afraid to take up space and when set in all caps it automatically transforms into neatly stackable blocks. Otherwise, it has a more even and condensed appearance which works well in continuous text in large sizes.

Inspired by the funkiness and wild experimentation of the Letraset era, Thicc is a super heavy modular typeface with big curves and variable height (for extra funkiness).

Programme folder for the sixth meeting of the artists’ network Den kollektiva hjärnan exploring ideas of the commons, artistic autonomy and community. Typeface: Communal Times. Riso printed at Art Lab Gnesta.

A short anthology of texts and illustrations by participants of a workshop at Art Lab Gnesta in 2020. The design and content reflect the time in which it was made. Dealing with the climate catastrophe as well as the pandemic, the title invites the reader to stay in the darkness for a moment. The design embodies this darkness in various ways in order to complement the texts, finding inspiration in the tone and aesthetics of Gothic fiction.

Edited by Sebastian Dahlqvist & Caroline Malmström. Typefaces: Larish Alte & Eckmannpsych. Paper: 80 g Munken Print Cream (1.8) & 170 g Munken Pure Rough. Printed and bound in an edition of 500 by TMG Sthlm. Published by Art Lab Gnesta. 14.8 × 22 cm, 68 pages, Softcover 2019. ISSN: 2001-3434.

For Konstfack, Rejmyre Art Lab, Konstfrämjandet Stockholm, Borås Museum of Modern Art, Den kollektiva hjernan & Unga Kontoret

Variable font workshop for second year Konstfack BA students, Dec. 2.—6. 2019. The website made for the occasion features Zycon by David Berlow, an old school GX font from the early 1990s. Besided some historical and techical context the focus of the workshop was to try to think beyond the most obvious axes in order to make the whole process a bit more fun.

Exhibition identity for Remi Vesala’s degree project, Hyper-terrestrial, at the international Master’s programme Curating Art at Stockholm University.

Design and development for FiBRA, a research-based artist residency and nomadic curatorial platform. The design reflects their research – investigating the qualities of materials and the structures being created, from understanding material properties and their social implications to the processes of making. Typeface: Celeraz. Kirby CMS.

Website for London-based woodworker extraordinaire Rio Kobayashi. Frontend and backend design and development. Kirby CMS.

Can bookworks exist solely in virtual space? Partially based on the fact that we have yet to publish a physical book, this seeks to instead create “a space for potential publishing”.

A self-initiated project dedicated to critical writings on graphic design. A bilingual media platform provides readers with short excerpts from recent (or classical) texts on the shifting role of a designer and the way certain ideologies function in design.

A project exploring errors, unintentional or intentional acts of getting lost in between on- and offline space by way of two google streetview instances moving in tandem at diametrically opposed points on earth.

A synchronised browser window performance on a plinth-mounted video monitor and projection screen. Performed at the Cookhouse Gallery as part of Model Countermodel curated by Yvan Martinez and Joshua Trees.