One of the scenes I worked on in the Wachowski’s Jupiter Ascending trailer.

John F. Kennedy evokes Guinness and more in a dose of Sunday synaesthesia with The Gourmand

Read More
Photography by Dominic Davies.
Geographical Lasagne
Laser cut contours of pasta to form a Geographical Lasagne.  This project was exhibited at the Trento e Rovereto Museum of Modern and Contemporary Art, Italy in their 2013 exhibition ‘The Shape of Taste’
Lasercut Poppadom.
Lasercut Poppadom.
Monomyth Typographic Pasta
Art director Andrew Stellitano has teamed up with creative duo Sawdust (Rob Gonzalez and Jonathan Quainton) and photographer Dominic Davies to realise a personal art project based on bringing typography and food together.
The concept typographically depicts the three main stages of the narrative in Joseph Campbell’s Monomyth structure: Departure, Initiation and Return. The Monomyth is a basic pattern for events that its proponents argue is found in many narratives from around the world.
Sawdust were tasked with developing letterforms that would eventually be laser cut from pasta and beautifully shot by still life photographer Dominic Davies.
“The typeface’s angular structure is defined by (but not limited to) a continuous and sometimes curvaceous geometric line, which allows the letterforms to be freestanding once laser cut out of the pasta.” Says Jonathan Quainton of Sawdust.
Dominic Davies explains “The photography had to allow the type to be legible and precisely staged, each word in its own environment. The challenge was to find the right feel for each environment while keeping the type as our main focus”
Each of the three final artworks were constructed using real laser cut pasta (for the letterforms) and raw ingredients.
Photography by Dominic Davies.
Photography by Dominic Davies.
The ‘Nicer’ biscuit was created in collaboration with The Curious Confectioner to accompany Rory Sutherland’s talk on influence with The School of Life. 
"Back in the 1950s a marketing psychologist recommended to a major automotive company that it needn’t actually engineer a faster car, but simply seduce the driver into thinking the car feels faster by strengthening the spring in its accelerator pedal"
Rory Sutherland.
A prop from a recent project with David Bradley.