Atelier Sherida Kuffour is a multi-disciplinary design studio based in Zürich and Amsterdam operating within branding, publishing and spatial design.

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Solace in Digital Archives of Ourselves

2021
'We Found Solace in Digital Archives of Ourselves’ is a text loosely based on the performance of love in an increasingly digital age. Using the works of Steffi Luchtenberg, a design researcher based in Dortmund, Germany and NYS a digital collective from Amsterdam, I describe the different ways our devices become various extensions of our bodies. This text is a short except of 'We Found Solace in Digital Archives of Ourselves', to purchase, please visit www.valiz.nl/en/publications/design-dedication-adaptive-mentalities-in-design-education

“I woke up that morning and became aware of my breath, it’s unsteady pace, and my eyes that locked in on the computer on my lap which housed a design draft of the 2018 yearbook yet to be completed. I guess I’d been meaning to finish it by the way my fingers rested on keyboard like some weird extension of my body. I zoomed in on the now active screen, trying to make sense of the notes; ‘The Body’, ‘Bodies and Memories’, ’Atonomous Bodies’, ’The Precarious Body’, ‘Precariousness’, ‘Procuring’, ’Precaring’, ‘Caring about life Pre-Sandberg’, ‘Scrolling to talk about (s)trolling and ‘algorithms’, ‘interface as mediums of thoughts’. and so on, and so forth. The projects had somehow all encompassed bodies that year, whether it was ‘The Oracle’ by Cyanne van Den Houten about enhancing human capacity in a virtual world, or my own work that questioned the place of black bodies in white institutions. 

I felt the human identity firmly at the forefront of our efforts as an academic year. However, using adjectives commonly associated with computers and algorithms to describe the merging of the digital and flesh seemed to me short-sighted. That interface merges with the body and that technical objects strengthen or extend human mental and/or physical capabilities is not a new concept and is one that is regularly considered. Marshall McLuhan writing in his book ‘Understanding Media: The Extensions of Man’ (1964) about the idea of our technologies becoming us, or better yet, our families, called to mind a similar rising in our very own design department. How each of us, distant from our parents, partners and homes learned to use our devices as methods of feeling…”

Earl Grey en een Slokje Smirnoff

2019
I often think about how narratives and memories are locked in language. I started writing Earl Grey en een Slokje Smirnoff in English with a view that I’d have to translate it into Dutch for the Belgian publication I’d been asked to write for. Once the English version was done and I started rewriting the text in Dutch I realised how so much detail was left out of my English version, how much there was still left to say and how the two texts though the same in content were entirely different pieces altogether. They said different things but they said the same thing. The details of this story which took place in The Hague became much more vivid and less distant once I used the language native to that memory. I wonder how many of us migrant, displaced/in-place, “third-culture-kids” with “non linear” histories struggle with the translation of our thoughts. 

Dutch

Voor vandaag wisten wij dat je allang naar de goede plek was overgestapt, want je ogen, normaal gesproken de kleur van luie zondagmiddagen, begonnen iets duisters te openbaren.

Die ochtend rook het huis naar zwavel en lood. Scherp en puur aroma. Je nam met je mee, het huis waar onze liefde leefde en een kind die jouw vlammende ogen droeg.

Dat was de leer van herinnering die mij nu in de steek zou laten bij het maken van het ontbijt van een stervende man.

Een Earl Grey thee voor een vroeg graf, die ik voor vijf tot ongeveer twintig seconden liet weken, gezoet met een halve theelepel suiker
en een druppel halfvolle melk, zodat de kleur van de thee op jou huid leek deze laatste dagen. Donker, dof, maar nog steeds onbeslist bleek.

Je handen waren zo koud als steen, misschien iets zachter, maar precies zo grijs als deze dag. In de stille momenten waren je ogen verlegen, je stem zachtmoedig en je bewegingen traag. Onze radio waar je aura vroeger leefde was nu een statische schaduw van zichzelf.

English

We knew you’d passed onto the other realm long before today, because your eyes, normally the colour of late-night caps and lazy sunday afters had started revealing themselves something dark.

That morning, the house smelled of sulphur and lead; Pungent and pure in its aroma. You took with you the home we’d lived in and loved on, and a child that bore your mischievous eyes.

Such was the doctrine of memory that would forsake me in making a dead man’s breakfast right when you needed it exactly how you wanted it.

Earl grey tea before an early grave left to soak for about 3/4 of a minute, sweetened with half a teaspoon of sugar
and a drop of semi-skimmed milk, so that the colour resembled your skin these last days. Dark, dull but still undecidedly pale.

Your hands were as cold as marble, maybe softer, less dense, but definitely as grey as this day had fore-spelled.
In these moments, your eyes were shy, your voice meek. And our radio, where your presence used to live now crackled and hummed in your absence.

This text is a short excerpt from my poem ‘Earl Grey en een Slokje Smirnoff’ of which the Dutch version was published by Poëziekrant 

Be Exposed Magazine

2015
Photography: Donald Linderyd, www.dlinderyd.com Creative Directors / Wardrobe Stylist: Helen Butcher, Will Harper & Tiffany Baron, www.beexposed.co.uk Design Director: Sherida Kuffour Hair & Makeup: Jolanda Coetzer, www.jolanda.co.uk Models: Karina @ Leni's, www.lenismodels.com Maxim @ Nevs, www.nevsmodels.co.uk Wardrobe: Top, hot pants and bag: Madelen Ljunggren

Speaking Volumes for Diversity

2020
Half-page illustration commissioned by the Society of Authors to accompany an article written by Sharmilla Beezmohun of Speaking Volumes.

Close Encounters

2016
Collaborating with London based fashion store and exhibition space Fashaddict, I held a public viewing showcasing Encounters, an illustration project based on the various encounters I'd had that year. From being squished uncomfortably on the London underground to romantic endeavours. The event was successful in ushering new forms of encounters and in the space of 4 hours, over 200 people attended this exhibition, resulting in new encounters and relationships being formed, some of which exist till present.