When Structure Begins To Break
I don’t approach experimental posters as a rejection of structure, but as a slow movement away from it. Structure is always present, but it starts to loosen, fracture, and reorganise itself in less predictable ways. In experimental posters, I am not interested in balance in the traditional sense. I am interested in tension—how far an image can move before it collapses, and how much instability it can hold while still remaining coherent.
The Instinct Before The System
Before systems, there was gesture. Before composition rules, there was instinct. I often think about early visual cultures, where images were not designed to follow formal structures but emerged from ritual, repetition, and embodied movement. In Slavic and other pagan traditions, marks were placed not for visual harmony, but for meaning, protection, or transformation. Experimental posters return to this instinctive way of making, where the image develops from internal logic rather than external rules.
Forms That Resist Alignment
In experimental posters, elements do not fully align. Shapes interrupt each other, figures overlap without clear hierarchy, and space does not behave consistently. This resistance to alignment is intentional. It reflects a way of seeing that is not linear or stable. In many strands of twentieth-century art, especially in surrealism and art brut, this kind of visual disruption was used to access deeper layers of perception. I see experimental posters as continuing this trajectory, where misalignment becomes a tool rather than a flaw.
Fragmentation As A Way Of Thinking
Fragmentation plays a central role in how I build experimental posters. Instead of a single, unified image, I often work with parts—partial figures, repeated motifs, interrupted forms. These fragments do not necessarily resolve into a whole, and I am comfortable with that. In many cultural traditions, including folk ornament and symbolic systems, repetition and fragmentation were used to build meaning gradually rather than present it all at once. The image becomes something that unfolds rather than something that is immediately understood.
The Influence Of Folk Ornament And Repetition
Even when the image appears chaotic, there is often an underlying rhythm. This comes from my interest in folk ornament, where repetition creates continuity without strict symmetry. In experimental posters, this rhythm is less controlled but still present. Patterns emerge, dissolve, and reappear, creating a sense of movement within the image. The structure is not fixed, but it is not absent either—it shifts.
Color As Disruption Rather Than Harmony
Color in experimental posters does not aim for harmony. It can clash, interrupt, or destabilise the image. Certain tones push forward while others recede, creating uneven visual weight. I am less interested in cohesive palettes and more in how color can break the image open. In this sense, color becomes an active force, not a finishing layer. It participates in the construction of the image rather than simply supporting it.
A System That Refuses To Stabilise
Experimental posters do not arrive at a final, resolved state. They remain in a condition of becoming, where the structure continues to shift even after the image is complete. I see this not as incompleteness, but as openness. The image holds multiple possibilities at once, without settling into a single interpretation. This is what defines the shift away from structured design—not the absence of structure, but the refusal to fix it.
