Familiar Strange is the product of frustration at decades of media misrepresentations. The general understanding of obsessive-compulsive disorder (OCD) is one informed by stereotypes and misinformation. The outcome of such distortion is a complex disorder being characterised as something that simply keeps your house tidy, your cupboards organised and your pens in rainbow order. These concerning misinterpretations continue to contribute to a substantial delay in treatment generally estimated at over a decade.

However, this frustration is not necessarily directed at those perpetuating these myths in throwaway comments; an audience’s understanding is only as good as the content they are provided. Therefore, my work aims to interrogate the role of the designer as a communicator, focusing on honing concepts to aid understanding of complex experiences, rather than perfecting practical functionality. This method is how Familiar Strange came to be.

The project draws heavily from critical design practice, implementing concepts and methodologies from the field of industrial design to provoke discussion and reflection in the fields of visual and media communication. It delivers a range of familiar print artefacts that have been transformed into something strange. Strange, in this context, referring to a representation of the convoluted, time-consuming routines that turn mundane tasks into OCD-riddled nightmares.

A belief central to my work is that design is a tool for activism, research and subsequent innovation. It can, and should stretch beyond the servicing of industry – and I hope my work aptly reflects that belief.