Designing a month-long exhibition across gallery, campaign, programming, and digital experience
Co-curated with Yaz. I led the promotional campaign, workshop scheduling, digital catalogue, venue coordination, and much of the visitor experience.
Collaboration and task delegation
Yaz and I shared a vision for the show, divided into distinct roles.
We co-curated Our Light Unbound together over roughly eighteen months. Yaz led merchandise and much of the core identity. I led the promotional campaign, workshop scheduling, digital catalogue, venue coordination, and much of the visitor experience.
Some responsibilities overlapped, but making ownership explicit helped a project with many moving parts stay manageable from early planning through the public exhibition.
Securing the funding
We secured $11,500 from 4Culture to support the exhibition.
I identified eligible grant opportunities, wrote applications with Yaz, built the budgets, managed the funding, and reported the outcomes.
The funding supported production, programming, and artist participation rather than functioning as a decorative credential around the project.
Designing the campaign
The public campaign had to introduce the exhibition, give individual artists room to be seen, and build enough momentum to bring people into the gallery.
The campaign included 36 posts. By opening night, the account had 148 followers. One reel reached roughly 2.5K views, and individual artist features reached as many as 1,698 views.
The campaign was one part of a larger visitor journey that continued into the gallery rather than ending at the event announcement.
Making the catalogue work in the gallery
I wanted artists to be able to share their message, but I did not want artwork descriptions to become more wall text.
The digital catalogue used QR access so visitors could choose how much context they wanted while standing with the work.
It was designed mobile-first and supported artist and artwork search, expandable sections, purchasing information, and device-level text resizing without blocking the physical artwork with more printed explanation.
Accessibility was part of the implementation. The catalogue used strong contrast, visible focus states, semantic accordion behavior, aria-expanded, aria-live, and keyboard navigation.
Programming the month
The exhibition continued beyond opening night through a month of programming.
The schedule included collage, paint-and-sip, an origami mobile workshop, a flexagon-zine workshop, an artist talk, and a closing event.
Programming became another way for visitors to interact with the ideas in the exhibition rather than treating the gallery as a single opening-night moment.
Designing for participation
Two participatory installations invited visitors to leave something behind.
A world map let people mark where they came from and add notes. A graffiti wall gave visitors another open-ended surface to respond on.
Both filled over the course of the exhibition.
Keeping the whole thing coherent
The exhibition ran publicly at Slip Gallery through January 2026 after roughly eighteen months of planning.
Opening night brought 1,000+ visitors. That figure refers specifically to opening night, not total attendance across the full month.
The project moved across grants, artist coordination, campaign design, programming, accessibility, physical gallery decisions, and a digital catalogue. The work was spread across many surfaces, but visitors still needed it to feel like one exhibition.
