An identity and exhibition catalogue for the art of chaos
Looming Chaos is an exhibition of works by Zipporah Camille Thompson, held at the Zuckerman Museum of Art in Spring 2020. Thompson engages notions of chaos through weaving. Environmental deterioration, tumultuous personal histories, and complexities of her own identity are raw material for her work. Intertwining them with fine-art media and detritus, she creates fantastical fiber abstractions that signify the creative potential of destruction—rebirth.
The exhibition’s visual identity and catalogue invoke the most distinctive aspects of Thompson’s practice, from its vibrant and varied materiality, to its focus on the universality of catastrophic experience.
Zipporah Camille Thompson: Looming Chaos. Edited and contributions by T.K. Smith. Contributions by Dr. Maurita N. Poole, rosa mendez, Zipporah Camille Thompson, Diedrick Brackens, and Dr. Teresa Bramlette Reeves. Published by the Zuckerman Museum of Art, 2020. Swissbound hardcover, 112 pages, 8 x 12 inches. ISBN 9780991550203.
A cosmic yet personal identity
We developed a logo to brand the exhibition and publication. The ouroboros is the ancient symbol for eternal return, a major theme in Thompson’s practice. The hands are positioned as if they are working a loom, while the condensed sans-serif lettering and stacked typesetting suggest the loom’s warp and weft.
The icon evolved from alchemical and celestial symbols, the structure of the loom, and the ouroboros. Early typographic experiments interwove contrasting fonts. The final mark pairs the finely detailed icon with understated customized lettering.
weaving a practice into a publication
An amalgam of contents, visuals, and materials, Looming Chaos doesn’t just showcase Thompson’s work—it acts as an extension of it.
The holography of the cover and endpapers evokes the possibility of transmutation. The bright red thread binding points to the book as a woven object. The book’s color scheme is based on works in the exhibition.
Looming Chaos features images of artworks, as well as a variety of texts: an essay by the exhibition’s curator, T.K. Smith; a suite of poems by rosa mendez; and a conversation between Thompson and weaver Diedrick Brackens, among others.
Prints of the artist’s sketches are tipped in between sections. Silver-stamped on black paper, they represent the glimmer of ideas, depicting works that were in the exhibition but incomplete at the time of publication.