Sophie Dyer is a researcher and designer.

She is a freelancer (medieval mercenary), a past contributor to Airwars and a co-producer of the experimental documentary unit, Concrete Flux.

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The Persistence of Type

Group exhibition with Maeve Redmond and Fiona Jardine.
(June 2015)
Panel
Tramway
Glasgow
#archive #documentary

Elida was created in the 1970s for women with the world before them.
Elida is type.
Elida speaks by re-mixing advertising copy from
old magazines, newspaper cuttings and post office directories.
Elida penetrates text with image as a means of disruption.
Elida likes erotic text and soft-focus imagery.

An exhibition, events programme, billboard and distributed newspaper, with newly commissioned work by artist Fiona Jardine and designers Sophie Dyer and Maeve Redmond. Curated by Panel and produced in partnership with the Tramway centre.

Moira Jeffry, The Scotsman (5 July 2015)
“The joy of the Persistence of Type, a new collaborative exhibition commissioned by curators Panel from artist Fiona Jardine and the excellent designers Maeve Redmond and Sophie Dyer, is that while the show harvests this rich social history through some key Scottish source material, it never succumbs to self-serving legend. Instead, it explores – through a clutch of screenprints, a digital film and an erudite printed essay by Jardine – the notion of type and types.

For these women were types, not individuals. Known by their first names only, they were blondes or brunettes. They were descended in a way from the modern stenographer with shingled hair of the 1920s, the office girls and saucy secretaries of the 1950s.”

The Guardian, Robert Clark (19 Jun 2015)
“There’s a distinctly retro look to The Persistence Of Type. It’s as if the 1968 Situationist International has transferred its graphic subversions to 21st-century Glasgow with a display of reworked posters at the Tramway. Artist Fiona Jardine has taken up with designers Sophie Dyer and Maeve Redmond to interrogate images of women in corporate advertising. They raid and recompose the commercial campaigns of two firms, British Caledonian Airways and Tennent’s Lager. The brewery’s “lager lovely” is recognised as playing a comparable stereotypical role to the airline stewardess: both come on with a girl-next-door familiarity, equal parts sexy playmate, wet nurse, waitress and mother. As with the enduringly influential Situationists, the revealing tactic here is cut-and-paste, close-up photo fragments overlaid with slogans such as “first-class” and “ideal” to deceptively cool-as-they-come effect.”