BY ANY MEANS NECESSARY
This project investigates the contrasting ways that theft and wrongdoing are visually represented depending on who holds power. Drawing from corporate settlements and scanned security camera images, the project positions petty theft as hyper-visible and morally condemned, while elite harm remains obscured, normalized, or even rewarded. The project integrates biblical language about wealth, rulers, judgment, and injustice. These texts provide a critical moral lens through which public condemnation and private impunity can be questioned. To contextualize this dynamic, the text is broken up as well by scholarly writings on corporate crime and the inequities of fine-based punishment. This features essays titled “Criminal Sanctions for Corporate Illegality” by Stephen A. Yoder and “Lawful But Awful: Legal Corporate Crimes” by Nikos Passas. Collected and designed by Morissey Scott Montgomery for Core 3: Design Studio at Parsons School of Design in the Fall of 2025. Texts are all drawn from open source settlement transcriptions. Printed on glossy copy and saddle stitch bound.
BY ANY MEANS NECESSARY
This project investigates the contrasting ways that theft and wrongdoing are visually represented depending on who holds power. Drawing from corporate settlements and scanned security camera images, the project positions petty theft as hyper-visible and morally condemned, while elite harm remains obscured, normalized, or even rewarded. The project integrates biblical language about wealth, rulers, judgment, and injustice. These texts provide a critical moral lens through which public condemnation and private impunity can be questioned. To contextualize this dynamic, the text is broken up as well by scholarly writings on corporate crime and the inequities of fine-based punishment. This features essays titled “Criminal Sanctions for Corporate Illegality” by Stephen A. Yoder and “Lawful But Awful: Legal Corporate Crimes” by Nikos Passas. Collected and designed by Morissey Scott Montgomery for Core 3: Design Studio at Parsons School of Design in the Fall of 2025. Texts are all drawn from open source settlement transcriptions. Printed on glossy copy and saddle stitch bound.
This project investigates the contrasting ways that theft and wrongdoing are visually represented depending on who holds power. Drawing from corporate settlements and scanned security camera images, the project positions petty theft as hyper-visible and morally condemned, while elite harm remains obscured, normalized, or even rewarded. The project integrates biblical language about wealth, rulers, judgment, and injustice. These texts provide a critical moral lens through which public condemnation and private impunity can be questioned. To contextualize this dynamic, the text is broken up as well by scholarly writings on corporate crime and the inequities of fine-based punishment. This features essays titled “Criminal Sanctions for Corporate Illegality” by Stephen A. Yoder and “Lawful But Awful: Legal Corporate Crimes” by Nikos Passas. Collected and designed by Morissey Scott Montgomery for Core 3: Design Studio at Parsons School of Design in the Fall of 2025. Texts are all drawn from open source settlement transcriptions. Printed on glossy copy and saddle stitch bound.
OTHER PEOPLE USING FURNITURE IN THEIR HOMES THAT I ONCE USED IN MINE
This project for Core 2: Typography features photographs of the new lives of my childhood furniture. The full book was printed on the inkjet and staple bound. Each spread includes one of the following pieces of writing:
1. A transcription of my brother, Bey, and his friends Oscar and Jude discussing the fate of a beetle.
2. An exerpt from a letter written to me by my father, Ben.
3. A redacted version of Free Range Kids Find Freedom, Self-Reliance in Tampa by a staff writer for the Tampa Bay Times.
4. A 20-minute writing exercise for class by my sister, Asher.
5. An excerpt from my sister Asher’s article, a Hurricane From Here for the Harvard Crimson.
6. An exerpt from an untitled piece honoring the life of my brother by Michael Kruse.
(All photographs on the photo page of this site)
IT IS A MOTHER TO YOU
This project for Core 3: Topics explores the complexity of one’s relationship to smoking cigarettes through the lense of a maternal bond. Divided into three sections, the collection investigates smoking not only as a physical habit but as an emotional and symbolic act, shaped by early development, teenage rebellion, and desire. The first section touches on Freud’s Psychosexual Stages of Development and the theory that habits such as cigarette smoking stem from a deficiency during the oral stage of development. Here, smoking becomes a symbolic supplement for something lacking, a surrogate for comfort or nurturing. The second part considers the cigarette as a cultural icon of defiance and autonomy. It examines how smoking has historically been marketed and perceived as an assertion of individuality, freedom, and resistance to authority, including maternal authority. The final section focuses on desire and the intimacy of shared smoking experiences. It reflects on the quiet moments of connection a cigarette can facilitate, revealing its dual nature as both a solitary and social ritual. Each section includes pixelated photographs of cigarette butts alongside official World Health Organization pictoral smoking warnings. These are broken up as well by segments of messages, often warnings or advice, from my own mother- a self-proclaimed social smoker. The collection is set entirely in Helvetica to mimic the sterile typographic language found on warning labels on the outside of cigarette packaging, further blurring the line between public health messaging and personal narrative.
It was printed on 6.6 x 4.5 in pages and saddle stitch bound with red embroidery floss.
BILLIONAIRE SPACE RACE POSTER
This project for Core 2: Typography examines the timeline of the Space Race, focusing specifically on the three leading billionaires- Elon Musk, Jeff Bezos, and Richard Branson. It seeks to confront the extreme financial measures that have been gone to in order to reach private space travel.
OTHER PEOPLE USING FURNITURE IN THEIR HOMES THAT I ONCE USED IN MINE
This project for Core 2: Typography features photographs of the new lives of my childhood furniture. The full book was printed on the inkjet and staple bound. Each spread includes one of the following pieces of writing:
1. A transcription of my brother, Bey, and his friends Oscar and Jude discussing the fate of a beetle.
2. An exerpt from a letter written to me by my father, Ben.
3. A redacted version of Free Range Kids Find Freedom, Self-Reliance in Tampa by a staff writer for the Tampa Bay Times.
4. A 20-minute writing exercise for class by my sister, Asher.
5. An excerpt from my sister Asher’s article, a Hurricane From Here for the Harvard Crimson.
6. An exerpt from an untitled piece honoring the life of my brother by Michael Kruse.
(All photographs on the photo page of this site)
This project for Core 2: Typography features photographs of the new lives of my childhood furniture. The full book was printed on the inkjet and staple bound. Each spread includes one of the following pieces of writing:
1. A transcription of my brother, Bey, and his friends Oscar and Jude discussing the fate of a beetle.
2. An exerpt from a letter written to me by my father, Ben.
3. A redacted version of Free Range Kids Find Freedom, Self-Reliance in Tampa by a staff writer for the Tampa Bay Times.
4. A 20-minute writing exercise for class by my sister, Asher.
5. An excerpt from my sister Asher’s article, a Hurricane From Here for the Harvard Crimson.
6. An exerpt from an untitled piece honoring the life of my brother by Michael Kruse.
(All photographs on the photo page of this site)
IT IS A MOTHER TO YOU
This project for Core 3: Topics explores the complexity of one’s relationship to smoking cigarettes through the lense of a maternal bond. Divided into three sections, the collection investigates smoking not only as a physical habit but as an emotional and symbolic act, shaped by early development, teenage rebellion, and desire. The first section touches on Freud’s Psychosexual Stages of Development and the theory that habits such as cigarette smoking stem from a deficiency during the oral stage of development. Here, smoking becomes a symbolic supplement for something lacking, a surrogate for comfort or nurturing. The second part considers the cigarette as a cultural icon of defiance and autonomy. It examines how smoking has historically been marketed and perceived as an assertion of individuality, freedom, and resistance to authority, including maternal authority. The final section focuses on desire and the intimacy of shared smoking experiences. It reflects on the quiet moments of connection a cigarette can facilitate, revealing its dual nature as both a solitary and social ritual. Each section includes pixelated photographs of cigarette butts alongside official World Health Organization pictoral smoking warnings. These are broken up as well by segments of messages, often warnings or advice, from my own mother- a self-proclaimed social smoker. The collection is set entirely in Helvetica to mimic the sterile typographic language found on warning labels on the outside of cigarette packaging, further blurring the line between public health messaging and personal narrative.
It was printed on 6.6 x 4.5 in pages and saddle stitch bound with red embroidery floss.
This project for Core 3: Topics explores the complexity of one’s relationship to smoking cigarettes through the lense of a maternal bond. Divided into three sections, the collection investigates smoking not only as a physical habit but as an emotional and symbolic act, shaped by early development, teenage rebellion, and desire. The first section touches on Freud’s Psychosexual Stages of Development and the theory that habits such as cigarette smoking stem from a deficiency during the oral stage of development. Here, smoking becomes a symbolic supplement for something lacking, a surrogate for comfort or nurturing. The second part considers the cigarette as a cultural icon of defiance and autonomy. It examines how smoking has historically been marketed and perceived as an assertion of individuality, freedom, and resistance to authority, including maternal authority. The final section focuses on desire and the intimacy of shared smoking experiences. It reflects on the quiet moments of connection a cigarette can facilitate, revealing its dual nature as both a solitary and social ritual. Each section includes pixelated photographs of cigarette butts alongside official World Health Organization pictoral smoking warnings. These are broken up as well by segments of messages, often warnings or advice, from my own mother- a self-proclaimed social smoker. The collection is set entirely in Helvetica to mimic the sterile typographic language found on warning labels on the outside of cigarette packaging, further blurring the line between public health messaging and personal narrative.
It was printed on 6.6 x 4.5 in pages and saddle stitch bound with red embroidery floss.
BILLIONAIRE SPACE RACE POSTER
This project for Core 2: Typography examines the timeline of the Space Race, focusing specifically on the three leading billionaires- Elon Musk, Jeff Bezos, and Richard Branson. It seeks to confront the extreme financial measures that have been gone to in order to reach private space travel.
This project for Core 2: Typography examines the timeline of the Space Race, focusing specifically on the three leading billionaires- Elon Musk, Jeff Bezos, and Richard Branson. It seeks to confront the extreme financial measures that have been gone to in order to reach private space travel.