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Works
2019
Off Centre — A Necessary Resource
Publication
Client:
The Necessary Stage
Featured:
Bēhance Editorial Gallery,
14 November 2019
Bēhance InDesign Gallery,
27 March 2020
The Necessary Stage
Featured:
Bēhance Editorial Gallery,
14 November 2019
Bēhance InDesign Gallery,
27 March 2020
Off Centre, writen by Haresh Sharma, was the first Singaporean play to be offered as a GCE ‘O’ and ‘N’ Level literature text since 2007. This publication serves as the first comprehensive guide for teachers and students to study the text which explores the topic of mental illness through the characters Saloma and Vinod.
Picking up on the ambiguous role reversal that takes place through the constant juxtaposition seen in the characters, structure and events of the play that occur simultaneously create a contrast which can be interpreted in two different ways.
The cover design follows the stylistic trajectory of the play’s book cover design, which is now familiar to the students. However, for the design of the guide, we chose to make reference to the birds that were used as a metaphoric device in the text to allude to Saloma and Vinod.
The birds are set against an isometric grid pattern which, on one hand, gives a sense of depth, but on another, provide possibilities in understanding the image in different perspectives—subtly embodying what the resource aims to do. We seek to question what freedom really is through the separation of the birds that exist in different spaces—one seemingly free in contrast to the other which can be interpreted to be grounded or captured in the midst of the angular lines.
Picking up on the ambiguous role reversal that takes place through the constant juxtaposition seen in the characters, structure and events of the play that occur simultaneously create a contrast which can be interpreted in two different ways.
The cover design follows the stylistic trajectory of the play’s book cover design, which is now familiar to the students. However, for the design of the guide, we chose to make reference to the birds that were used as a metaphoric device in the text to allude to Saloma and Vinod.
The birds are set against an isometric grid pattern which, on one hand, gives a sense of depth, but on another, provide possibilities in understanding the image in different perspectives—subtly embodying what the resource aims to do. We seek to question what freedom really is through the separation of the birds that exist in different spaces—one seemingly free in contrast to the other which can be interpreted to be grounded or captured in the midst of the angular lines.
Cover ︎
These angular lines can be interpreted as differently as a ground, criss-cross fence or even grills of a cage. As each bird abides in each space, this ambiguity questions what it means to be inclusive and if being inside or outside is truly freedom.
Details ︎
Spreads ︎
