Some questions that you — if you're a critic, or acting as one — might put to me w/r/t my work here:
One. "Why do you think you favor formal and stylistic strategies that center on simulated overprinting, mathy patterns, and bright saturated colors?"
Two. "How does your background in computer programming intersect with — or influence, or thwart — or otherwise impact your design work? I mean, most of this stuff [that you’ve shown here] is print; you haven’t done much interactive or motion work here, have you?..."
Three. "How do the more thought-experimenty and academicish sort of projects that you do — like the Bi’lak essay-dialog poster series, or those design debates that you initiated — how does your set of processes and methods adapt to a commercial design setting? As in, a typical service-oriented professional-practice design milieu... can you speak to how that might work, from both your personal commercial working-world experience, and from your point of view as a student who is actively engaged in theoretical, critical, and education-realted issues qua graphic design?"
Four. "May I ask you what, specifically, did you end up bringing back to your graphic design education from your foray into the study of architecture? Was that a helpful thing to do? How do architectural modes of research and practice work in terms of your current methodologies for graphic design, if at all? Like, are they literal translations of architecture’s notion of scale, or program, or site — like for example — or perhaps it’s a more abstract or personal relationship?... anyway, maybe you could talk more about that, if you could."
Five. "Where does your current MFA thesis work fit into the arc of your life as a designer? Heh — I know that’s a huge question... but yeah, can you contextualize this investigation of design feedback loops as a step towards a grand theory, or a comprehenisve project, or what have you... or is this but one cog in your design juggernaut, as it were?"
These are one of the many products of Anne West's writing seminar.