JCGD
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WHO AM I
I’m a designer drawn to structure, balance, and simplicity. I think a lot about how things are organized and how clarity can come from complexity. My background as an athlete has shaped how I see things—I’m used to thinking in terms of movement, rhythm, and awareness of space, and that naturally carries into how I approach design.
WHAT I DO
I create visual systems and identity-driven work that sit between branding, digital design, and experimental visuals. I’m interested in how rules, patterns, and structure can be used to build identities that feel consistent but still flexible and alive.
A lot of my process starts with the human body—often through photos or studies of movement—which I then break apart and rebuild using digital tools. I use coding, 3D, motion tools, CAD, and print to turn these ideas into something visual and physical.
Across all of it, I’m trying to build work that feels structured but not fixed—something that can shift, respond, and evolve depending on how it’s experienced.
WHAT I BELIEVE
I believe structure isn’t about restriction—it’s about giving things room to make sense. When a system is strong, it doesn’t limit creativity; it supports it.
I’m especially interested in the body as a kind of visual language. Movement, repetition, and small changes in motion can say a lot without needing explanation. A lot of my work explores that space between control and fluidity—where things are intentionally shaped, but never completely fixed.
CV FOR THE RECORDC 45456
FOR THE RECORD
SEPTEMBER — OCTOBER 2025
CYANOTYPE SERIES
MEDIUM — PRINT
DESCRIPTION
For The Record is a cyanotype series created in response to a trip to Toronto that explores the relationship between memory, documentation, and the preservation of personal experiences. The project examines how photography has become inseparable from travel, often serving as proof that a moment occurred rather than a means of remembering it. In an era where experiences are constantly documented and shared, the work questions how technology shapes our understanding of memory.
The cyanotype process was chosen for its physical and historical qualities, offering a contrast to the speed and impermanence of digital photography. By transforming photographs from the trip into handmade cyanotype prints, familiar moments become tactile objects that carry both visual and physical traces of their creation.
Throughout the series, images from Toronto are translated into deep blue impressions that exist between documentation and recollection. The cyanotype process softens details and alters the original photographs, creating images that feel less like exact records and more like memories themselves—fragmented, selective, and shaped by personal interpretation.
Ultimately, For The Record explores the tension between digital and physical forms of preservation. Through cyanotype, the project proposes an alternative way of archiving experiences rooted in materiality, craftsmanship, and permanence, while inviting viewers to reconsider their own relationship with memory, photography, and the desire to document everyday life.
PROCESS
For The Record began during an introductory cyanotype assignment and a spontaneous trip to Toronto with friends. While documenting the trip, I became interested in the relationship between travel, memory, and photography, and saw cyanotype as an ideal medium for exploring those ideas. Throughout the trip, I photographed locations and experiences while also recording personal notes about my surroundings and emotions, creating an archive that combined visual documentation with written reflection.
After returning, I selected nine photographs that best represented the experience and incorporated fragments of my writing directly into the compositions. The title, FOR THE RECORD, is spelled out across the series in chronological order, creating a narrative that unfolds through the collection and emphasizes the act of preserving fleeting moments.
Once the compositions were finalized, I created digital negatives and produced each cyanotype print by hand, coating paper with light-sensitive chemicals, exposing it to UV light, and developing the images in water. The handmade process introduced subtle variations and imperfections that reinforced the project's themes of materiality and preservation.
A key decision was to invert the photographs before printing. By distorting the imagery, I aimed to reflect how memories shift and evolve over time—becoming less precise and shaped by emotion and recollection. Through photography, personal writing, and historical photographic techniques, For The Record explores how memories are documented, preserved, and continually reconstructed over time.