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evi_o

@evi_o

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👽Design @evi_o.studio
🐍Art @saint_cloche @uprisenyc
👁️Publishing @formisteditions
🦋Nature @daytrip.life
🦘@agigraphic @agi_oz

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Deep Surface, a monograph for LA-based artist Jemima Wyman @jemimawyman

Wyman’s art practice incorporates various mediums including installation, video, performance, photography and painting. Her most recent artworks utilize these mediums to specifically focus on visually based resistance strategies employed within protest culture and zones of conflict. These works aim to explore the formal and psychological potentiality of camouflage and masking in reference to collective identity.

The book design responded to Wyman’s method of layering, decinstructing and assembling, and the boldness of her voice presenting the inticracy of subjects she’s pursued to examine.

Deep Surface was published to coincide with a survey exhibition curated by Katherine Dionysius @katherinedionysius , first exhibited at QUT Art Museum @qutartmuseum . It has since travelled to Samstag Museum of art @samstagmuseum and will next show in Sydney with UNSW Galleries @unswgalleries as part of Sydney Festival 2027 @sydney_festival

📸 @hybridcorp.llc

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CURIO | ART, DESIGN & CONNECTION

Last week, Curio, presented by Belle Magazine in partnership with GlobeWest and Saint Cloche, brought together GlobeWest’s limited-edition collection and works by Saint Cloche artists in a thoughtful celebration of art, design and creative connection, curated by Kitty Clark.

Moderated by Belle Editor-in-Chief Tanya Buchanan, the panel featured Kitty, GlobeWest Head of Creative Keti Lytras, and artists Evi O, Fiona Barrett-Clark and Hannah Lange. Together, they explored creative identity, colour, collecting and the evolving relationship between art and design.

Thank you to @bellemagazineau @ms.tanyabuchanan and @globewest for bringing this collaboration to life, to @marooshka1 for her styling prowess, and to everyone who joined us to experience the exhibition and be part of such an inspiring conversation.

The Curio exhibition remains on view by appointment.

Enquiries: info@saintcloche.com

Pics @laurentrompp_photographer

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I had the absolute honour of jetting down to Sydney to speak on a panel alongside Kitty Clarke, @evi_o @fionabarrettclark @keti.lytras Presented by @bellemagazineau in partnership with @globewest and @saint_cloche … all artworks in the ‘Curio’ exhibition are on show at @globewest in Alexandria and available for purchase through Saint Cloche gallery (link in bio)

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An Evening Of Art & Design

Art meets design. Curated and styled for @bellemagazineau hosted by @ms.tanyabuchanan , bringing @saint_cloche and @globewest together for an evening of creative exchange.

Captured @laurentrompp_photographer
Florals @florist_josephinekelly

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Thank you @bestdesignawards jury for the bronze pin on Natural Order, we are honoured to participate. We’d like to celebrate and congratulate the team behind this publication.

Authors @dangarbarinsmith
Editor @mccartneyk
Photographer @prueruscoe
Designer @evi_o
Illustrator @gracebrunner.interiors
Copy editor @katrinamobrien
Printer @1010printing

Natural Order is available online and at all the fine bookshops

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WINNER 🥇 After the Rain was awarded gold in the Graphics: editorial and books category at the @BestDesignAwards in Aotearoa.

‘The rain-inspired grid, tactile details and thoughtful use of artist voices create a publication that feels both highly designed and deeply respectful of its subject,’ said the judges.

Congratulations to @tonyalbert, @evi_o, @evi_o.studio, the artists and the Gallery’s publishing team!

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cookbook 4 “Lankan Filling” in the Anatomy of an Image series by @missotama ⁠
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I take a dive into 2 of my favourite images from the book and explain the concept and execution of them…this is part two of this episode..⁠
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a huge thank you to @simonnpdavis for the gift of this book!⁠
photography by @patricianiven ⁠
published by @hardiegrantbooks ⁠
publishing team @jasmin_chua @kristinthomas76 ⁠
design @evi_o

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cookbook 4 “Lankan Filling” in the Anatomy of an Image series by @missotama

I take a dive into 2 of my favourite images from the book and explain the concept and execution of them…part two out next Wednesday!
⁠
a huge thank you to @simonnpdavis for the gift of this book!
photography by @patricianiven
published by @hardiegrantbooks
publishing team @jasmin_chua @kristinthomas76
design @evi_o

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Kaan Kite

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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

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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.

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37 🎂 + a little recap of what I've been doing for the last year

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