Lorna Alkana

 
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Lorna Alkana

Greetings! My name is Lorna Alkana, and I graduated from Otis College of Art and Design in May 2020 with an MFA in Graphic Design. I mix language and line drawings into interactive installations, speculative events, and found poetry. My background in Writing (USC, Creative Writing/Cultural Studies) and Education (TFA, Middle School English) influences my work. 
Otis helped me develop enduring practice that values expanding and questioning my understanding of the histories and futures of graphic communication, information organization, and the means of production. 
Currently, I’m developing tools for a time-traveling design studio (Diplopoda Caracaras) that orchestrates wonderfully possible public protests, parties, and conferences where people can come together to discuss and plan around underlying issues of equality and freedom. 
Covid19 context: I’ve looked to type, built a typeface called “New All American,” inspired by baseball and my collaboration with the #riotpop queer and immigrant empowerment-ing band, WASI.

Poster process Iteration exploring ideas for a speculative festival around the concept of “Monsterism.” 

For our Public[A]tion course, I worked with two colleagues to “just create something beautiful”. We created “beautiful” works of art and installed them around the Otis campus using an augmented reality app. QR codes around the school halls gave everyone access to the otherwise invisible exhibition.

Publication ‘Almost There: Absolutely Complete Stories’ documenting video of augmented reality installation: “Beautiful Exhibition.” Published by the Department of Pataphysics.

I made a history of graphic design in three zine textbooks: Figures, Books, and Institutions. The designs aim to challenge the authority of a textbook. As fluid documents, with growing tables of contents, annotation reveals the subjectivity of history. 
 

When Robots Make Monsters looks at the ways technology, literature, and human psychology interact and manifest on movie screens, online, and through mechanical innovation. This book connects  sci-fi movie posters, magical realism, academic research exploring Frankenstein and Freud, medieval manuscripts, and surprising findings regarding gene mutations in domesticated animals. Though we define monsters and robots by their lack of humanity, our relationship to them over time provides a lens to view human histories and futures. 

Spreads from the Monsters and Robots in Literature section of the publication When Robots Make Monsters. The article “Frankenstein at 200” by Fiona Sampson wonders if Mary Shelley has been given the respect she deserves for creating Frankenstein.
 

These paper mache lights are the final in a series of three “readers” I developed for Public(action)/Seminar class at Otis College Art and Design in 2019, taught by Silas Munro. The first reader was an image archive, the second a text network, and the third a hybrid of the first two. For this third reader, I created spread compositions with the text and images from the first two readers, and then printed them out in miniature. Turned those into strips. Glued them to balloons. Added an LED lights. I wanted to build/construct/get my hands on something with the words and images. I wanted to make something helpful and absurd.

This is a proposal document for an And Anomaly, time-traveling event. 

This is a scroll through the instagram page of Diplopoda Caracaras (pronounced dip-low-poe-duh//car-a-car-as which means Millipede Falcon). The time-traveling  graphic design studio orchestrates hopeful protests, conferences, and parties around themes of equality and freedom. They use social media hashtags to join conversations across space and time.