ARCHIVES AND ARTICHOKES
began as a coincidence of alliteration—a nom de plume for myself. Call it manifestation or foreshadowing, but throughout my time at Parsons School of Design, I became increasingly interested in archives: printed matter, publications, and the ways knowledge is preserved and circulated. Concurrently, my practice gravitated towards food as a cultural and historical subject, which culminated in my undergraduate thesis, Perpetually, In Fermentation. The studio's name reflects these two ongoing interests.
ARCHIVES
represents research, reading, and writing. It is the thread that connects design to inquiry. Besides client work, we (Kiara, Krisanda, and Putrilia—all one person) are currently developing Reading as a Map (title in progress), a publication exploring memory studies, reading, and annotations.
ARTICHOKES
represent food and what can bring people together around a table. More broadly, it stands for the commercial world in which design operates. Perhaps fittingly, the process of design is similar to an artichoke, layered with increasing complexity as it is peeled back.
Today, we (as in the singular person, Kiara):
- develop visual identities and brand systems for clients across different fields,
- run Kafe Koji,
- work part-time at Pears,
- read far too many books,
- étudier le français,
- painting,
- heavily considering a master’s in museology in France,
- and always seeking different ways of learning.
The studio exists at the intersection of research and commercial, art and design, the tangible and intangible, the physical and the screen, archives and artichokes.
Instagram
kiaraputrilia@gmail.com
14.SMILE! YOU ARE BEING RECORDED
New York, NY
2023
Performance
Publication
Four acrylic plexiglass sheets. White, blue, yellow. 1/8" × 18" × 24".
Held together using a chain and carabiner.
Documentation is printed on fiber-based "masa" paper. 21" × 31".
Live site 🔗
A playful theatrical response to “When is a selfie no longer a selfie?” I adorned this three-layered acrylic signage (that is also a book) around Central Park to see how people would react to a visible presence of surveillance. The design is inspired by a sign I encountered while gathering data for when is a selfie no longer a selfie?. However, I chose to depict it in four layers to deconstruct its visual elements and isolate which parts are essential to a system of surveillance. Are we accustomed to seeing smiling faces as symbols of surveillance? Why? What is their semiotic purpose? Do they make surveillance feel less sinister—or more?
1/6 SMILE! YOU ARE BEING RECORDED — Performance, publication, website design, coding2/6 SMILE! YOU ARE BEING RECORDED — Performance, publication, website design,
coding.
Laser cutting on a white 18 inches × 24 inches plexiglass sheet.3/6 SMILE! YOU ARE BEING RECORDED — Performance, publication, website design, coding.
Laser engraving on a yellow 18 inches × 24 inches plexiglass sheet.4/6 SMILE! YOU ARE BEING RECORDED — Performance, publication, website design, coding.
Laser engraving on a blue 18 inches × 24 inches plexiglass sheet.5/6 SMILE! YOU ARE BEING RECORDED — Performance, publication, website design, coding.
Documentation of photographs on website. Click to generate random order of images and captions.6/6 SMILE! YOU ARE BEING RECORDED — Performance, publication, website design, coding.
Documentation is printed on fiber-based "masa" paper. 21 inches × 31 inches.