Hi, I'm Beaziyt Worcou. I'm a Melbourne based graphic designer who recently completed a Bachelor of Communication Design at Monash Art Design and Architecture. I work mainly with printed matter, graphic identities, publication design and typography but am always looking for opportunities to work in close collaboration on all kinds of projects. If you'd like to get in touch, please contact: hello@beaziyt.info Currently: No Clients.

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PROJECT: forms of resistance: an archive of political flags
GUIDANCE: Dominic Hofstede
OUTCOME: ↳144x255mm, 68 pp publication
↳digital print, white ink cover.
↳ Black flag with hole in centre, presented at the 2016 Monash Industrial and Communication Design Graduate Exhibition. The flag is a re-interpretation of the Hungarian flags of the 1956 revolution, where the communist coat of arms was cut out of its centre.

forms of resistance is an archive that explores political flags of the past century. The publication examines their significance as forms of resistance with images that focus on the act of a political gesture. These gestures are encapsulated through the relationship between the symbolism of the flag and the actions of the flag bearer where a symbiotic connection is formed—the flag embodies the motives and aspirations of its people and in turn the people, rooted in notions of nationalism and patriotism, protect the flag as if it has an innate connection to their identity. By exploring this connection, forms of resistance aims to illuminate an alternative way of mapping the trajectory of the social and political activity of our society.

PROJECT: Art holds a high place in my life | Damp study of an artist at 21.
COLLABORATORS: Alexander McGlade, Gillian Butcher, Jenna Fivelman, 
Lauren Conti,

Lillian Cordell, Lucy Kingsley, Melissa Vallence, Mia Fleming, Ned Shannon,

Robert Janes, Samantha Barrow, Sarah Adkins, Yoana Doleva
POSTER DESIGN: Robert Janes, Ned Shannon, Beaziyt Worcou
OUTCOME: Graphic Identity:
↳Two colour offset and risograph print,
↳297 x 420 mm. Edition of 1000
↳Damp Camp exhibition, MADA Gallery
↳Art holds a high place in my life tape
↳Posters printed by Drum Luck Press
Image Credits: 7–11, Rosemary Forde.

Art Holds a high place in my life is a year long curatorial exhibition curated by Rosemary Forde. The exhibition documents the work of the melbourne artist collective, Damp, through exhibitions, installations, talks, and study groups. The graphic identity for the exhibition was produced during a two week workshop led by four members of Damp (Narelle Desmond, Sharon Goodwin, Deb Kunda, and James Lynch) involving sixteen fine art, architecture, and communication design students.

The graphic identity centres around a seventy sided asterisk, in reference to the extensive list of shifting members Damp has had since their formation in 1995. Posters were offset and risograph printed in silver and blue. The exhibition features a built structure in MUMA's Ian Potter sculpture court titled Gormenghast. The structure is a "temporary, evolving and highly visible site for art and audience to meet." The site is designed by architecture firm MAP using new and recycled materials and is home to study groups, interviews and meetings among other things.


PROJECT: Damp Camp and Art Holds a High place in my Life
GUIDANCE: Rosemary Forde, Warren Taylor
COLLABORATORS: Alexander McGlade, Gillian Butcher, Jenna Fivelman, Lauren Conti,

Lillian Cordell, Lucy Kingsley, Melissa Vallence, Mia Fleming, Ned Shannon,

Robert Janes, Samantha Barrow, Sarah Adkins, Yoana Doleva
OUTCOME:
↳Workshop participation
↳Exhibition Identity.

Damp Camp was a two week workshop facilitated by Rosemary Forde and Warren Taylor as part of a year long curatorial project documenting the works of DAMP—a Melbourne based artist collective. The workshop was led by four members of DAMP, and involved sixteen fine art, architecture, and communication design students who worked collaboratively over the course of two weeks to produce the graphic identity for a series of exhibitions and events around campus.

PROJECT: General Practise
COLLABORATOR: Robert Janes
GUIDANCE: Ziga Testen
OUTCOME: ↳Exhibition Catalogue, 297 x 420 mm, 60pp.
↳A series of A1 posters which were displayed around

campus then later disposed of in a small fire.
↳Website

General Practise or; Towards reflexive inquiry: autonomy of institutional pedagogy; Diversion From Material existence or; Critical Surrealism in Systems OF representational content or; Divisional Rejection of Progressive practise: Conventional actualisation as Dominant Hegemony or; Form without Finality without Function without Feeling without…or; Is Nihilism…or; What investigative practice rejects is everything or; On: Explorative propositional Inquiry towards Haptik intangibility or; Ancient Modernity in current Global paradigms or; Discipline, the exhibition––titled all nine of the names listed above, was a collaborative experiment in design fiction. The project–also known by its shorter name–General Practice, aimed to produce a catalogue of student work for a typography class led by Ziga Testen. General Practise intended to display these typographic works in an exhibition at a campus gallery. Upon receival of a rejection letter from the gallery, we went ahead with producing the printed collateral and promotion for this now hypothetical exhibition. The catalogue produced became a documentation of the process and documentation of the hypothetical exhibition.

PROJECT: Design(er) As... Monash Industrial
and Communication Design Graduate Exhibition 2016
GUIDANCE Warren Taylor
COLLABORATOR: Ricky New
OUTCOME: Exhibition Identity
↳ Invitation packs, edition of 40
↳ Student postcards
↳ Promotional poster series
Website design, build by Robert Janes
↳ Promotional Video

Design(er) As... is the title of the 2016 Monash Industrial and Communication Design Graduate Exhibition. The graphic identity was produced in collaboration with Ricky New. Four motifs were central to the show and each in some way represent the tension between the abstract yet concrete nature of the field of design. These motifs/symbols were the parenthesis, the hashtag, the ellipses, and the not definied glyph in a typeface.

The title of the exhibition, 'Design(er) As…', was instigated through a series of continually occurring conversations amongst graduating students. Various questions regarding authorship became apparent as the year progressed. Questions such as—what now? What is design anyway and who needs it? What does it mean to be an author? Producer? How do we position ourselves in society? And how are we viewed by the rest of the world? These questions concerning exploration, navigation, and trajectory anchored the shows graphic identity.

Design(er) As… is an open ended statement concerned with the expansiveness of our roles as much it is about navigating our way through society. Restrictions around the campus environment surrounding the physical exhibition space dictated by construction work meant that many of the works produced were done so within an altered and restricted space. This exhibition then, is as much about the restricted navigation of a physical site, as it is about the navigation of the field of design.

PROJECT: Swamped: Future water scenarios for Elwood.
COLLABORATOR: Ricky New, Warren Taylor.
GUIDANCE: Warren Taylor
OUTCOME:Exhibition identity:
↳Text panels and A1 posters
↳Reflective vinyl decal
↳8 Embossed binder books
↳Water like vinyl floor decal
↳Screen-printed poncho posters

Focussing on Elwood as a case study, and then expanding to explore the Elster Creek catchment and the related terrains of the Victorian Southern Lowlands, 'Swamped: Future water scenarios for Elwood' is a multi-disciplinary exhibition that speculates on the impacts that climate change and rapid urbanisation may have on these types of environments, and the possible futures that can be imagined for them. As sea levels rise, and storm surges and drought threaten, Swamped asks: what will happen to Elwood?


PROJECT: Drum Luck Press Summer School December 2015—February 2016
COLLABORATORS:Zach Beltsos-Russo, Vincent Chan, Samuel Heatley, Robert Janes, Ned Shannon.
EXERNAL CRITICS: Anna Daly, Paul Fuog, Stuart Geddes, Matt Lenz,

Paul Mylecharane, Warren Taylor, Ziga Testen, Dion Tuckwell.
OUTCOME: ↳3 month workshop/studio space at Magic Johnston.
('Critical Foundations', a publication that documents the three months, is currently in progress)

During the three month summer break, five members of Drum Luck Press — a student run risograph printing co-operative centred around a RP3700 at Monash University—came together to start a part studio, part summerschool. The project ran from December 2015–February 2016 and was home to critiques, film screenings, round table discussions, skill shares, reading groups and excursions. The studio, located at Magic Johnston in Collingwood, was a means for us to delve deeply into the ideas and questions surrounding our practice— questions that were unanswerable to us in the context of university. Perhaps ironically, the school was fortunate enough to receive a grant in its early stages from Monash University—this grant would eventually help us cover some of our rent and any additional costs. Communal learning was crucial to our work from the very beginning—we ran skill shares and reading groups often followed by discussions pertaining to praxis, ideology, pedagogy, and far beyond.

We shared books, food, records, and a place to call our own—central to our school was the notion of sharing, as we all eventually came to realise that these things that surround our practice, these support structures, whether they be book swaps, communal lunches, or the sharing of stories and music, were critical foundations of our practice and it was often within these critical foundations that questions were posed, problems solved, theories explicated and ideas manifested.
The aim of the summer school was for each of us to pursue our own research driven projects with the support and feedback from peers and practitioners in the surrounding environment. The space facilitated a supportive working and learning environment where members collectively constructed, arranged, and re-arranged the curriculum.

PROJECT: Us Them West Other
GUIDANCE: Dominic Hofstede
OUTCOME: ↳175 x 240mm, 167pp

Us Them West Other is a critique of western narratives regarding terror related deaths in mainstream journalism. Us Them West Other interrogates the double standard apparent in mainstream US media that presents a one dimensional narrative of the notion of terrorism.

The notion of terrorism projected in narratives of US media often appears to be reserved only for those terrorist acts perpetrated by Muslims. When we look at in group domestic terrorism, that is, terrorism perpetrated by white Americans, we see them afforded the space to be an individual, a lone wolf, whose actions are in no way indicative of the cultural or religious groups that they may belong to. This is made evident in the push for Islamic organisations to publicly condone terrorist attacks perpetrated by Muslims though it is never Christian Americans who are pressured to speak out against such individuals who might do the same. The Muslim is always the jihadi fighter on his way to join ISIL; the white American is always the lone wolf, the mentally troubled individual who fell off track. Here, the double standard of Us and Them, of West and Other becomes apparent and it is this dichotomy, this “othering” that is used to justify the deadly violence perpetrated by the U.S in countries like Yemen, Syria, Somalia, Pakistan, Iraq, Libya, and so on. The term ‘terrorism’ is problematic in itself, as it’s almost impossible to define—the term doesn’t actually point to any measurable act. As Glenn Greenwald articulates, “the term “terrorism,” at least as it’s predominantly used in the post-9/11 West, is about the identity of those committing the violence and the identity of the targets. It manifestly has nothing to do with some neutral, objective assessment of the acts being labeled.”

PROJECT: Killed By Police
GUIDANCE Ned Culic
OUTCOME: 145x356mm 45 ppp
↳ A2 Poster

Killed by Police is a publication that documents the rise of the US Black Lives Matter movement.

PROJECT: 'Students in Dissent' insert for 'Print and Demand' article.
Published in Imprint Journal.
COLLABORATOR: Ned Shannon, Robert Janes
OUTCOME: A5 12pp booklet. Purple risograph print.

During the 1960s and 1970s Monash University was the epicentre of student politics in Australia and under the direction of the Monash Labor Club, radical activist groups produced a range of political ephemera including newsletters, posters, protest flyers and manifestos.
In response to an article written by Warren Taylor titled 'Print and Demand', Drum Luck Press were approached to design and print a transcript of a discussion between Ken Mansell, Emily Forde, Stewart Russell and students of Art and Design at Monash University during Forde's forum 'Disobediance: The University as a Site of Political Potential' at Monash University Museum of Art (MUMA) in 2013.