Coralie Hutchinson 




Site Overview:

I) Faust
II) Faust Publication
III) No Safe Amount
IV) Tuna Kuwharuwharu 
V) Emphemeral Infinity



























Contact:coraliehutchinson@gmail.com
AUCKLAND, AKL, NZ. 
 

































Coralie is a designer based in Auckland, New Zealand. She is interested in communicational aspects of design and anthroposemiotics, their history, and influence. Her work often surrounds themes based on philosophical and abstract concepts related to anthropology and individual perception.  

Her works are designed to engage the viewer in such a way that they are left with a remaining curiosity, building a deeper and conscious interaction. She achieves this connection through the use of graphic design, illustration, publication, and motion graphics; wherever is appropriate, achievable, and most impactful for the given concept. 

Education:
Whitecliffe College of Arts and Design: Bachelor's of Digital Media: Digital Media and Design (2023-2025)

Level 4 Certificate of Digital Media (2022)

Unitec Institute of Technology: Bachelor's of Health Science: Medical Imaging (2019-2022)

Clinical Placement as Medical     Imaging/X-Ray Technician, (Auckland DHB and Starship Hospital 2019-2021)


Faust | Poster, Ticket, Publication

The legend of Faust encompasses a series of legends and stories surrounding Faust, his journey and subsequent death, after making a deal with a Devil named Mephistopheles.

This project seeks to encourage self-reflection and a larger critique of the world we live in by utilising concepts and themes that we are already familiar with. It consists of a series of visual assets that relate to the themes and historical contexts of Faust. As a method of connection to the audience, A quote book was one of the associated assets created for Faust. Research reflects the value of physical keepsakes for audiences of the theatre.








No safe amount|Print and Install

No Safe Amount was a project and installation created under the exploration of a personal community. It was designed to bring awareness to drinking culture, its impact, influence, and potential dangers.

Two phrases and sentiments are overlaid over a given disclaimer. They ask for forgiveness, showing regret and understanding as the person asks for help. The following statements of intention backtrack on this to instead say that with such forgiveness, the behaviours will continue under the assumption that this is the preferred outcome from the higher figure. Differentiating between the two installs is the phrasing of the liquid of consumption, both the blood and wine referencing to the Eucharist and its connection to forgiveness. The wine is the direct link to alcohol. The blood references the impact and potential harm to the environment and communities.







`


Tuna Kuwharuwharu | Design Artefact

L
ongfin Eels, known as Tuna, are an endemic species, found nowhere else in the world but Aotearoa. They are considered at risk with a declining population, with much of this decline coming from human activity.


This Design Artefact was created to inform audiences about the importance and vitality of these eels within New Zealand. It visualises their lifecycle and main features of identification in a series of digital illustrations.





Ephemeral Infinity | 3d Blender Animation
screened at the Stardome July15, August23.  


Ephemeral Infinity is a work that combines the paradoxical terms 'Ephemeral' and 'Infinity'. It balances cosmic permanence with transient existence, showcasing the universe's cyclical nature not through literal repetition but the infinite renewal of meaning through a finite framework.

Ephemeral describes things that are temporary, transitory, or lasting for a very short time. In paradox, infinity describes the eternal—things without end or limit. Looking up at the stars or watching grains of sand slide through fingers have been suggested as ways of conceptualising infinity. The first Greek philosopher to comment on infinity was Zeno of Elea, who found that truly conceptualising it led to paradoxes, concluding that an "infinite number" is better understood as an indefinite quantity. One paradox he used was the dichotomy paradox, suggesting that movement between two points is logically impossible due to an infinite division of halves.


Parts of the visual imagery draw from the idiom 'Sands of Time'. An hourglass with a continuous sand flow stands in a barren desert. Time's passage is shown only through falling sand and ominous cloud movements behind it—a place existing outside temporal laws. This modest visual aims to immerse viewers in the dichotomy paradox experience: they are infinitely halfway. This creates existential tension—a sensation of motion as time runs out, yet rest from the hourglass's endless flow.


Complementing this is an excerpt from Kanye West's 'Moon', where the vocalist reflects on yearning for growth while finding peace in the present moment.