INTERVIEW WITH MASAYO FUKAYA FROM +81 MAGAZINE

There is a four page feature and interview by Masayo Fukaya about my work in the current issue of +81 magazine (Japan). The fantastic layout was designed by Yoshinori Hozumi. To read the full article please click here

'Viewing the work of Alida Rosie Sayer with her many layers of composition makes it feel almost as if we are being drawn into an interior world by a mysterious magnetic force. Taking novels as her source of inspiration, Sayer's complex three-dimensional creations are challenging works of art depicting the vision lying deep within her through typography and multiple layers as well as difficult themes such as visualizing time. One can only guess what frontiers her imagination and it's expansive view towards the potential of 3D typography is going to open up next...'

© Masayo Fukaya

(+81 Magazine / Vol. 51 / Spring 2011 / Inspirational Typography issue)

'ALL MOMENTS' AND 'THE CREATURES WERE FRIENDLY' IN MOTION

The Creatures Were Friendly from Alida Rosie on Vimeo.



All Moments from Alida Rosie on Vimeo.

Both filmed at Marsden Woo Gallery July 2010.
© Alida Rosie Sayer

SEE ME SPEAKING KOREAN! FONT CLUB KOREA INTERVIEW NOW ONLINE

Font Club Korea have just published an interview with me on their website. Unfortunately it is in Korean, but a quick once over with Google Translate produced some rather fantastic results...


'When first reading this book (Slaughterhouse Five), guess which way the gut contents of the novel was trying to shove in the heads of readers imagination was captured by transcending time and space configuration and unrealistic concept of the novel, the characters' bizarre visual depiction of my own feeling for such novels as a 3D visualization as the workpiece is.'


...couldn't have put it better myself!


Click here to see the interview in full

IT'S NICE THAT...

The lovely people at It's Nice That have just posted an interview with me on their blog.

Alida Rosie Sayer graduated from Glasgow School of Art in 2009 with a D&AD Best New Blood award to her name and, in the following year, a solo exhibition of her work. There’s a pleasing broadness to what she does, each design discipline often overlapping and finding form in each other, like Slaughterhouse Five, a series of static animations of sculptural type. “I think it’s about testing how many different directions I can push my ideas in – trying to find out what they, and I, might be capable of.”

Click here to read the full article.