For a design researcher, nothing is too small, practical or mundane to not have a story worth telling.

In short everything is inspirational.

Culture in Art and the Everyday

Culture is fascinating. I began exploring it at NYU through the "high-art" objects produced by different cultures. Managing contemporary art exhibitions at E-flux, I discovered the active dialogue between people and things. Through this work as well as in organizing my own projects and exhibitions, my research focus shifted from objects - artifacts of activity - to the persons and activities themselves. At the Institute of Design, I ventured from the gallery and into people's homes. And haven't had a boring day since.
Today, I seek a full-time position conducting user-centered design research and synthesizing data into stories and strategy.

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Graffiti as Iconoclasm

My undergraduate thesis at NYU argued that iconoclasm is the revolt of one culture through an attack and re-appropriation of the artifacts of the dominant culture and by this definition, contemporary graffiti is a form of iconoclasm. This explains why when graffiti moves from the city fence to a gallery wall, it loses much of its appeal. More importantly, reading graffiti as iconoclasm encourages a holistic reading of the mark: the image it creates and the wall is negates.

Perhaps I should add here that the reason I bring up this thesis at all, is in relation to design research. When we go in the field to observe people in their homes, we are practicing this sort of holistic observation: the participant's action enmeshed in the context of their lives. And it is only through this comprehensive approach can we truly understand what we see.

What does the fist symbol mean?
In the case of graffiti, its meaning hangs on the wall behind it.
A fist on a courthouse: fight the power
A fist on a school house: knowledge is power
And a fist on a skyscraper? that depends on the economic climate.

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