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Evi O

@evi_o

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👽Design @evi_o.studio
🦑Publishing @formisteditions
🐍Art @saint_cloche @uprisenyc
🦋Nature @daytrip.life
🦘@agigraphic @agi_oz
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The @bestdesignawards finalists have been announced and we thank the jury for including Dash by @cao_fei published by @fondazioneprada in the Editorial and Books category. We are grateful for further inclusion of 4 other @evi_o.studio projects with all case studies up on our website. In Dash, Cao Fei examines the relationship between humanity, technology, and spirituality through the lens of modern farming. At its core, Dash reflects on human belief systems, purpose, and the increasingly complex relationship between people and the technologies they create. It asks fundamental questions about power and perception: who is the god, and who is the worshipper? In an era of rapid technological transformation, the project invites reflection on one of humanity’s most enduring questions—why are we here? The design response celebrates the irreplaceable qualities of human creativity through meticulous production and the thoughtful curation of diverse media. Within Cao Fei’s narrative, farming drones and advanced technologies assume a god-like role, informing a visual language drawn from drone interfaces, agricultural packaging, and a hybrid of found and imagined aesthetics. Traditional symmetrical compositions are paired with futuristic typography to reflect the constructed world of Dash. The result is a highly crafted publication that demonstrates the enduring significance of human imagination, materiality, and authorship in a technological age. Artist @cao_fei Curatorial @lachiaracosta @covnelia Publication team @mario.mainetti @young_agamben @cristina_tagliabue @giovannispera_ Editorial team @meep_editorial Production @nensalicious Design @evi_o.studio | @evi_o with assistance from @andrewgrune @wooheong 📸 @andrewgrune @hybridcorp.llc by @evi_o
13
2 months ago
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An Invincible Supernova. Aluminium and automotive paint. 64 x 145 x 30cm. Red and blue. @saint_cloche @sydneycontemporary with @b.ecsmith @saxonjjquinn by @evi_o
7
2 years ago
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🌫MIRAGE🌫 is an exploration of memory - the faculty of encoding, storing, and retrieving information - and its role to one’s life. A research of nostalgia, and a venture to seek sources of treasured joy. Available via @uprisenyc Direct inquiry 👉 advisors@upriseart.com 👈 or click link in bio for more info. 📸 @hybridcorp.llc @andrewgrune by @evi_o
28
4 years ago
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Award season is here and this happened. Thanks @internationalcreativeawards jury @braulioamado @nejcprah @evacremers for recognising, and Nick - for the gentle push to participate. The full 2026 list has been announced, do check out projects and designers highlighted as boundary pushing in the global field of design. In its second year, it’s one of the few awards I keep an eye on, purely for its integrity to recognise innovation in design. Here’s a real messy capture of my work life as a designer and publisher. Not pictured are the authors, publishers, photographers, editors, friends, artists, curators, printers, typesetters, pre-press pros, pooches, educators, students and designers who have visited, worked and collaborated on projects. And of course, all the other projects I can not possibly include in one post. This one is for all the projects and people involved in them, book making takes a village. Grateful to be a part of it. 📖 taken in Redfern, Sydney by @evi_o
104
a month ago
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In a blink, September’s here 🫨 Here are some new friends I’ve met during the writing of our new nature-focused travel book, photographed by @andrewgrune published by @paulinadel @thamesandhudsonau . It’s not out until next year, and we’re still in the middle of writing the 40000 words, and still going out on assignments. Never thought I’d love homework. 🐊 by @evi_o
17
a month ago
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‘I, Free’ You are free to be. You are free to challenge. You are free to create. This 6m flag is my submission to Women* and Type Call for Flags, commissioned by: UN/SEEN Women Design @unseen.women.design and Museum Wiesbaden @museumwiesbaden , curated by Dr. Petra Eisele @petra_eisele and Dr. Isabel Naegele @isabel_naegele . This initiative is responding to historic inequality in type design and typography that can still be felt to today. The flags are on display until October 3rd inside and outside the museum throughout the summer as part of World Design Capital Frankfurt RheinMain 2026. The exhibition include these female designers from all corners of the world and their powerful works: Tereza Bettinardi @terezabettinardi , Camille Circlude @camille.circlude , Rejane Dal Bello @rejanedalbello , Loraine Furter @lorainefurter , Minjoo Ham @minjooham_ , Aeni Kaiser @aeni.kaiser , Anja Lutz @anjalutz_artbooks , Veronica Majluf @veronica.majluf , Golnar Kat Rahmani @golnarkat , Studio Katie Kerr @studiokatiekerr , Lavinia Lascaris @lavinialascaris , Bernadetta Crippa l, Flavia Nalon @flavianalon , Evi O, Liza Marie Defossez Ramalho @lizadefossez , Elaine Ramos @elainerc , Tereza Ruller , Yah Leng Yu @yahlengyu In such mighty company, thanks for having me. by @evi_o
17
a month ago
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@bestdesignawards finalist 2026. Not a Souvenir is a monograph that accompanies @tonyalbert retrospective show at @mca_australia curated by @brucejohnsonmclean edited by @liznowell published by @thamesandhudsonau Tony engages @evi_o with a brief ‘Can we create a Tony font?’. Evi concluded that it was a request for clarity in voice. She chose not to curate or selectively frame Tony’s history. Instead, the publication presents Tony’s two decades work in its fullest form. By featuring all artworks rather than imposing a tightly edited narrative, the book’s extent was determined only after the complete body of work had been assembled. The book’s primary visual structure is anchored by the appropriation of Tony’s alphabet works, repurposed as a distinctive and powerful typographic device. Supporting this are a bold sans serif and an archival-inspired monospaced typeface, which introduce clarity, rigour, and consistency to the overall typographic system. The typography embodies the same spirit of reclamation and liberation present throughout Tony’s practice. Type is given permission to disrupt convention—pushing beyond text and image boxes, crossing grids, and extending across spreads. These gestures become visual acts of freedom, privileging expansion and possibility over containment and reduction. Each artwork is presented in isolation against a white field, carefully arranged within systematic grids. The resulting compositions evoke specimens on laboratory slides or archival plates, positioned against a sterile metallic surface. This reading is reinforced through the use of metallic inks, enhancing the feeling of an alien surface. Materiality extends the book’s conceptual framework. The cover is printed on metallic stock, the page edges are sprayed in black and printed the words Past, Present, and Future. The final publication is both a distinctive object and an optimistic proposition, symbolising the potential of a transformative future. Team @tonyalbert @liznowell @paulinadel @thamesandhudsonau @ursulasullivan @hanrsharpe @mrs.badger.edits Aaron Searcey Caitlin O’Reardon @slisaa_ @evi_o.studio by @evi_o
21
a month ago
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Shifting Ground by Felicity Fenner @flisf designed by @evi_o @evi_o.studio is nominated for @bestdesignawards Shifting Ground:The Evolving Role of Art in the Australian Public Domain is an exploration into the recent shifts in the rationale, methodology and engagement with art projects in the Australian public domain. Addressing a history long dominated by former colonialist imperatives from voices of privilege, the publication examines a contemporary cultural resurgence that has embraced inclusivity, respect and activism in artistic and place-based storytelling. It captures the growing visibility and necessity of First Nations art, perspectives and history which has shaped our knowledge systems in ecological preservation and cultural justice. Featuring a foreword by artist and curator Tony Albert, alongside four essays and eleven case studies by leading practitioners and experts, the book serves as a contemporary reference for understanding the evolving landscape of public art in Australia. The design prioritises clarity of reading, with understated typographic systems paired with a varied and considered presentation of artwork imagery. The text is presented with quiet authority, reinforcing its role in articulating cultural change. The brown cover is subtly embossed with a grid of small squares, referencing systems of mapping, while black and white oblong forms overlay, expressing tension, transition - a shift. by @evi_o
1
a month ago
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‘I welcome everyone, to come and sit, reflect and respond to where we are, thinking and making art on Country. No matter where we come from, we can all engage through the universal language of visual art, and that’s why art is so powerful.’ Tony Albert After The Rain is a finalist in @bestdesignawards 2026 The 5th National Indigenous Art Triennial: After the Rain features 10 large-scale, immersive and multidisciplinary installations that celebrate intergenerational legacies and cultural warriors of the past, present and future. Artistic Director Tony Albert – Girramay/Yidinji/Kuku-Yalanji peoples – weaves together projects by Alair Pambegan, Aretha Brown, Blaklash, Dylan Mooney, Hermannsburg Potters, Iltja Ntjarra Art Centre and Vincent Namatjira, Jimmy John Thaiday, Naminapu Maymuru-White, Thea Anamara Perkins, Yarrenyty Arltere Artists and Grace Kemarre Robinya, and Warraba Weatherall to tell stories through the universal language of visual art. These projects resonate with ideas about rebirth and cycles of cleansing. The catalogue extends this framework by revealing behind-the-scenes materials. It offers deeper insight into the works, the artists’ life stories, and their ongoing creative practices, foregrounding relationships to Country across generations. It documents curatorial and artistic dialogue throug letters, sketches, Polaroids, and documentary photography, positioning the process itself as an exhibition in its own right. The design system originates from the After The Rain grid, developed in response to the curator’s letters and the broader documentation of the exhibition. A horizontal horizon divides each spread into a “rain area” (effect) above and a “ground area” (cause) below. Each letter is deconstructed, with materials introduced to extend and transcend time, building a fuller picture of each artist’s practice and intent. Within this framework, each artist’s narrative begins as a structured visual dialogue before gradually transitioning into more organic layouts that reflect its resolution. Curator @tonyalbert Co-curator @brand.sally Publisher @nationalgalleryaus Team @penelope_sanderson Meagan Down Zoe Antony Caitlin Murphy by @evi_o
6
2 months ago
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Natural Order by @dangarbarinsmith @mccartneyk published by @formisteditions has made it to @bestdesignawards 2026 finalists. We’d like to thank the jury for its inclusion. Natural Order is an exploratory study into the creative methodology of landscape design practice Dangar Barin Smith. Emerging from the practice’s close collaborations with architects, the project extends an inquiry into the evolving relationship between built environments and nature, as mediated through landscape design. The outcome is a series of structured conversations and twenty case studies, presented in book form. The designer’s focus is on developing a material system that reflects the rare and investigative nature of Dangar Barin Smith’s practice. The cover is composed of abstracted fields of natural colour printed on cloth, overlaid with white screen-printed sketch. These motifs continue across the page edges, creating a continuous visual field that connects front and back and establishes the book as a cohesive, object-like presence. The rigour of the material demands a restrained typographic approach, allowing content to be articulated with clarity and precision. Formalised layouts structure the presentation of project photography, while distilled data sets enable each project to be understood at a glance. A limited colour palette further reinforces the discipline and coherence of the overall design system. Annotated garden plans offer a deeper reading of each project, revealing layers of process and intent, while accompanying sketches introduce an interpretive, illustrative dimension that articulates the aesthetic sensibility of the practice. by @evi_o
0
2 months ago
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Cultivate by Belinda Fox @foxbelinda Launching this week in conjunction with Belinda’s Sydney solo show at @arthousegallery opening tonight. A panel talk consisting of artist Belinda Fox @foxbelinda , art critic John McDonald @jmcdartcritic and designer @evi_o will be held at 2pm this Saturday, celebrating and looking further into Belinda’s practice. Congratulations on many fronts, Belinda! by @evi_o
4
2 months ago
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Autumn’s almost here. A place around the hearth has been set aside for you. Attendance is intentionally limited. Tickets are now available. semipermanent.com Join us for an intimate conversation with @evi_o @evi_o.studio @formisteditions as we gather curious minds from Japan and around the world to exchange ideas, challenge one another, and imagine better ways of living, making, creating, and caring for the world around us. This gathering would not exist without the generosity of our curation teams, partners, advisors, volunteers, and friends who have spent the past two years building alongside us. To all of you, thank you for believing in what we’re creating together. Tokyo Salone November 14, 2026 @tokyosalone Nourish November 15, 2026 @nourishtokyo Speculative Futures November 17, 2026 Built in deep co-conspiracy with @teenageengineering × @semipermanent With WPÜ Shinjuku as our hearth @wpushinjuku and Kammui leading unforgettable journeys beyond it @kammui_japan Tokyo becomes both home and departure point. The first chapter begins this November. Follow our planning and future constellations: lu.ma/semipermanent (link in bio) We’ll leave a place for you around the hearth. by @evi_o
4
2 months ago
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