Maya Fehring
First edition of *Touch Grass* a zine series that explores the nuances of existing in the digital context. Across three issues the absurdity of being “chronically online” is examined. Inviting the reader to reflect on their own digital habits, while offering a critical, yet playful take on the modern condition of existing in a world shaped by technology.
Brain Rot is a 24 page publication intersecting techniques and tactility to materialise brain rot as a form of pysical decay. Excessive, fragmented and difficult to contain. Its combination of degraded materials, fragmented compositions and absurd visual language translates the overstimulation of online culture into a physical experience.
*Touch Grass* edition two, Down The Rabbit Hole, is a 38 page publication that explores conspiracy theories and the risks of falling into internet rabbit holes. Through three case studies, the publication explores the process of ideological radicalism. Absurd imagery, increasingly distorted logic and first-hand commentary trace the descent from curiosity into obsession.
The third and final edition of *Touch Grass* is a 28 page publication, The Digital Body. Drawing from the visual language of traditional anatomical texts, the publication reimagines the human body through the lens of technology, exploring the physical transformations brought about by our increasingly digital lives.
Dim Memories explores the fleeting, fragmented nature of memory through a combination of cyanotype, photography and tactile materials. Cyanotype printing creates a faded, dreamlike quality, reflecting the delicacy and impermanence of recollection.
The project revisits childhood memories as something simultaneously familiar and elusive, questioning what remains, what changes, and what is ultimately forgotten.
A cyanotype mixed-media animation exploring the nostalgia, intimacy and fleeting beauty of girlhood. Combining cyanotype and collage, the work reconstructs fragments of childhood through tactile, imperfect compositions that evoke the familiarity of remembered moments. The animation captures girlhood as something transient, precious precisely because it cannot be held onto.
A 160-page archival publication exploring “killed” negatives taken by photographers during the Great Depression in America. Never intended for public viewing, these images form a haunting archive of tragedy, loss and everyday life.
Recontextualised through sequencing and editorial structure, the publication explores what is preserved, what is discarded and what is left unseen. Beneath the destruction documented in the photographs are moments of perseverance, evidence of life continuing despite immense hardship.