In Stage Flight, the outer pattern is reminiscent of an ornate picture frame. Colours allude to optimism, and an energetic flow, but the blue circles could also allude to the actual music, the rhythm, the bass, the melody. What’s so daring about Desmond’s work is the fact that imagery, which is often the focal point in many posters and designs, is often the last thing we admire, but when we get there, we are forced to really admire it because of the shapes it has been placed in and the array of feelings evoked through colour and composition. And when humans aren’t present, Desmond also elicits these feelings through documenting nature. In Cornerstone, plants are the most muted throughout the design. Mostly dark and dreary, the only light and colour that manages to make its way through rests in the flowers’ filaments and mirrors the colourway throughout the surrounding ‘frame’.
Desmond says that he is “paying homage to the spirited and vibrant aesthetic of 1980s neon and Memphis design,” in his works. “This synthesis of influences shapes my artistic identity, as they allow me to blend precision, vibrancy and a touch of nostalgia,” he adds. And it’s no surprise, as his work has certainly taken on geometric, playful and inviting flair. But, in our eyes he’s gone a step further, engrossing us in a slower processing of imagery and taking time to interpret its meaning, which is surely a gift in this day and age.
