Casandra Gedert
Design


About
Experience
Instagram
 
Casandra Gedert Hamilton is a jack-of-all-trades graphic designer with 3 years of experience, specializing in exhibition/enviromental design, brand identity and visual communciation across both print and digital media. 
She also is an illustrator, hand-poked tattoo artist, seamstress, occasional photographer and nail artist. 

  • Client Work 

PUSH: J. Grant Brittian
Florida Prize in Contemporary Art
Relationships: A Love for Collecting
Florida Prize in Contemporary Art
Edouard Prulhière
Portraits of FusionFest
Golden Legacy
Arden Wine Bar
Devoated Oat Milk
The Optomist
Tony Hawk  @ OMA
Antigala
Holden Ellis
Vagaloomay

Personal Projects

Artwork
Editorial Design
Summer Club

Undergraduate work

Explorations in Type
Vinyl Design: Neutral Milk Hotel
Ode to Campari
GT’s Living Foods
Presidents Club
Balanced Hand
Wall of Hope
Those Who Fed Us





Exhibition: Edouard Prulhiere, he Inverted Sound of Painting
Client: Orlando Museum of Art
Deliverables: 20 ft. banner, lightpole banners, title wall design, digital assets for social media and email inviations.
Dates: January 2025 - May 2025
Installation Photography: © Mabeth StudiosThe Inverted Sound of Painting is a solo exhibition featuring the work of French-American artist Edouard Prulhière, made possible through the generous donation of 34 pieces by Dr. James Cottrell and Mr. Joseph Lovett to the museum last year. The works highlight a transformative period in Prulhière’s career (1995-2005), marked by a personal crisis that led him to radically rethink his practice. During this period, he rejected traditional canvas painting, which to him had become conventional and culturally codified, but above all, was limiting and incapable of conveying his true artistic commitment. Instead, he sought to transform his canvases into dynamic pieces that blurred the line between painting and sculpture. These “volume paintings” as he calls them, were created by folding, crumpling, tearing, and cutting canvases while painting them, before rolling them up and screwing them onto their own reconstructed stretcher. For Prulhière this rejection of the painting as a two-dimensional object to be hung on a wall opened a source of possibilities and propelled his artistic research onto new territories. 







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