Exhibition Design · 2026
Role
Exhibition and spatial design
Duration
To be added
Focus
To be added
01
The project begins by examining how bureaucracy produces systems, behaviours and forms of violence through rules, repetition and institutional power.
Research mapping — connecting bureaucracy, control, narrative and output ideas.
Research notes
Marx
Procedure replaces purpose; people lose agency.
Foucault
Surveillance turns into self-discipline.
Acker
The ideal worker hides gendered exclusion.
Merton / Crozier / Lipsky
Rigid systems and discretion shape unequal outcomes.
Mises / Hayek / Niskanen
Local needs give way to institutional interests.
Scott / Graeber
Administrative order flattens complex lives.
Habermas
Administrative logic crowds out dialogue.
Kafka
Endless procedure creates faceless power.
01.1
Redaction, collage and curatorial writing become tools for exploring how institutions control information. These experiments translate the research into a visual language of concealment, fragmentation and authority.
02
The game turns bureaucratic systems into rules, choices and consequences that can be experienced through play.
Whack-a-Mole is an arcade-style game in which players control a frustrated insurance claimant trying to resolve a denied health insurance claim by “whacking” employees throughout the company’s building. Players click randomly spawning moles under time and stamina constraints, progressing through five rooms as the protagonist ages and ultimately fails to secure a resolution.
A man signs up for health insurance, only to regret it when the company refuses to pay his claim. Frustration drives him to take the law into his own hands. He moves through the building, whacking employees room by room in an attempt to reach the top and secure his claim. As the story progresses, the player discovers that the character ages with every level. He never reaches the end. The claim is never paid. The company places obstacle after obstacle in his path until age and exhaustion overtake him.
Based on the conceptual inquiry, I began exploring ways to represent these ideas across different forms, including the visual logic of Rube Goldberg’s comic strips. I wanted the game to feel cartoonish, playful and accessible.
The washed-out palette recalls old comic-book pages and early Flash games and websites, giving the world a generic, worn and scraggly quality.
Every drawing uses Krita’s default chisel brush. Its variation between thin and thick marks gives otherwise flat images more movement and life.
01 / 06
Early sketches establish the office perspective, character expressions and the objects that turn paperwork into play.
Building the game’s office environment and visual assets in Krita.
Employees appear from changing floor positions, turning the search for the correct claim into a timed and unpredictable task.
The familiar hand game becomes another approval test, interrupting the main mechanic with a short contest against the system.
Rock × Scissors
03
The lamp translates the project’s ideas into a physical object, using light, material and interaction to express control and constraint.
Early spatial sketches explore how repeated blocks, openings and shadows could shape the lamp’s form.
Material studies / Process journal
01 / 16
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Material samples test surface, density, aggregate and reinforcement while moving from small studies toward the lamp’s cast structure.
04
The movie brings the research together through moving image, narrative and sound, presenting bureaucracy as a lived and emotional experience.
References for the film’s performance style, playful rhythm, ensemble staging and handmade visual language.
Character direction
Oversized facial features, bright felt details and visible handmade textures informed the puppet’s friendly but slightly uncanny character.
The Orientation — scene sketches and shot directions.
Read The Orientation, from the opening scene to the final act.
The Orientation / Screenplay
01 / 11
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