“ I aim to re-sensitise and revalue themes that have been normalised, oversaturated, or stripped of nuance”
As a designer, I aim to re-sensitise and revalue themes that have been normalised, oversaturated, or stripped of nuance. In an age dominated by efficiency, technology, and artificial realities like algorithm-driven environments and immersive media, I focus on the impact of culture, collective identity, and personal accountability on how we shape and inhabit our surroundings.
My work addresses issues such as social identity, the lingering influence of colonial frameworks, and the power of naming and categorisation -drawing from philosophical nominalism- using immersive research methods like material storytelling, fieldwork, and critical dialogue.
Photography acts as a tool for observation and reflection. It allows me to document and engage with perspectives that differ from my own, offering space for alternative narratives to emerge.
As my practice evolves, I continue to explore how research, design, and photography can intersect more deeply. I aim to create human-centered experiences and accessible translations of complex societal issues, inviting critical engagement from the public while maintaining emotional and cultural relevance.
Thoughts or questions
on anything you saw?
Get in touch!
on anything you saw?
Get in touch!
Rosie.vermeylen@hotmail.be
rosie.vermeylen
COMING SOON
‘24
Projects in the works:
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Xeno-nature
This project explores the connection of xenophobia in human to human interactions to human to plant interactions. With xenophbia we form a mental image about something, based on the fact that something is strange to us. An image that’ll often be inferior, threatening and dangerous. In xeno nature, I question how we react to what is unknown to us. How does a mental image interfere in our physical actions towards non-native and invasive species? And how can we connect our feelings to our actions in a passive way?
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Projects in the works:
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Xeno-nature
This project explores the connection of xenophobia in human to human interactions to human to plant interactions. With xenophbia we form a mental image about something, based on the fact that something is strange to us. An image that’ll often be inferior, threatening and dangerous. In xeno nature, I question how we react to what is unknown to us. How does a mental image interfere in our physical actions towards non-native and invasive species? And how can we connect our feelings to our actions in a passive way?
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Rooted.
A project steeped in Isabel’s ,the owner of Smissenbroek in Gent, eye for ornamenting. Curated into 3 pieces of jewelry that intentionally corrode over time, we are reflecting on the concept of seeking identity through use. Made from tin, copper and brass the pieces are to be worn by the person working on their land, where eventually the varying composition of the soils affect the body of the jewelry in different patinas.
A project in collaboration with Ananya Maithel.
WORD DIRT
‘24
digital, historic and field research
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an interventative installation for existing exhibitions
to create awarness for the tone of language that we’re surrounded by
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intro tapestry beforeentering an exhibition
app to scan and alter words live in an AR world during the exhibition
outro tapestry and stand with receipts printer at the
exit of the exhibition.
digital, historic and field research
-
an interventative installation for existing exhibitions
to create awarness for the tone of language that we’re surrounded by
-
intro tapestry beforeentering an exhibition
app to scan and alter words live in an AR world during the exhibition
outro tapestry and stand with receipts printer at the
exit of the exhibition.
This project was a result of research that had its roots with the benin bronzes and the invasion of the British in Benin City in 1897.
A research that led to a process of analyizing texts and sources that all described the event with a slightly different tone.
The meaning of words started to become relative to their language.
And the fact that this story was almost solely told in English started to reveal bias.
How can collective bias reveal a more rounded picture of colonial historic stories?
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a.1 - 2 ( analyzed transcription of David
Attenborough’s 1975 television series The Tribal Eye
outcome
Word dirt provides a (literal) critical lens for looking at the way colonial historic stories are told to coming generations.
The way sources are presented to us as young people learning about our heritage, affects how we relate ourselves to it. Words and language are the medium that hold the power of these stories.
Those words matter.
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a.3 ( intro tapestry, placed before enter of an exhibition
a.4 ( outro tapestry, placed after exit of an exhibition
a.5 ( receipt printer, paired with outro tapestry after exit of an exhibition
a.6 ( mock-up web application
a.4 ( outro tapestry, placed after exit of an exhibition
a.5 ( receipt printer, paired with outro tapestry after exit of an exhibition
a.6 ( mock-up web application
.
POOLSIDE
‘24
visual research
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photo series
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sunny saterday, Gistel, Belgium
study on limbs, lighting, contrast and reflection
visual research
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photo series
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sunny saterday, Gistel, Belgium
study on limbs, lighting, contrast and reflection
I see them for what they are
simple like that
do you know how people often say they just want to be?
because they feel like they can’t
it’s never that they can’t
it’s that others won’t let them
that they feel like others don’t let them
judgement, prejudice and assumptions
my friends
I’d like to gift them my unbiased eye
the gift everybody wants, but no one can gift
so I gift you my biased lens
HAVE YOU EVER TILED
‘24
graphic research
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topic nominalism
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ceramic tiles used as a graphic element
study on shape, repetitiveness and color
graphic research
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topic nominalism
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ceramic tiles used as a graphic element
study on shape, repetitiveness and color
when can you call yourself a tiler?
if I use tiles to compose a pattern, am I a tiler?
how do we shape a world with words constructed by others?
can we define the meaning of a word ourself?
I am now
a tiler
if I use tiles to compose a pattern, am I a tiler?
how do we shape a world with words constructed by others?
can we define the meaning of a word ourself?
I am now
a tiler
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b.1 - 6 ( individual tiles, photographed and edited to graphical element
b.7 - 14 ( combined tiles, photographed and edited to gaphical element
if a tiler is a person who lays tiles
I’ll call myself a tiler
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b.15 - 23 ( composition of graphic tile elements
b.15
b.16
b.17
b.18
b.19
b.20
b.21
b.22
b.23
CHAIN CHAIR
‘23
material research
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metal stool
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stool out of 500 steel rings and 1.5 m2 of 1mm thick aluminum sheet
material research
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metal stool
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stool out of 500 steel rings and 1.5 m2 of 1mm thick aluminum sheet
process
exploring the strength of metal connections metal connections without fusion
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a.1 ( hammered rodds, a perfectly fitted connection
a.2 ( perforated sheets of aluminum, connected by steel rings
a.3 ( hammered connections on aluminum sheets
a.4 ( connecting a bended and hammered alumminium sheet with steel spiral
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a.1 ( hammered rodds, a perfectly fitted connection
a.2 ( perforated sheets of aluminum, connected by steel rings
a.3 ( hammered connections on aluminum sheets
a.4 ( connecting a bended and hammered alumminium sheet with steel spiral
outcome
a.4 ( ring seam, backside stool
a.5 ( stool in use
a.6 ( curved edges, frontside stool
a.7 ( inner connection of twe sheets, backside stool
a.4 ( ring seam, backside stool
a.5 ( stool in use
a.6 ( curved edges, frontside stool
a.7 ( inner connection of twe sheets, backside stool