Haegue Yang’s work spans a vast range of media – from paper collage to performative sculpture and immense sensorial installations. Using a variety of crafts, techniques and materials in her work, tapping into the cultural connotations that they carry. Often feature a variety of household and industrial objects, including drying racks, light bulbs, metal-plated bells, nylon pom-poms, hand-knitted yarn and hanji (Korean paper).

This catalogue accompanies the exhibition held at the Hayward Gallery in London between 9 October 2024 to 5 January 2025, presenting a comprehensive study of Yang’s work from the early 2000s to today, highlighting how her artworks resonate on a personal and sensory level while also speaking to social, political and spiritual ideas.

The book features an extensive illustrated interview with the artist conducted by curator and writer Lynne Cooke, alongside original essays by Hayward Gallery Senior Curator Yung Ma, and writer Pablo Loris.

All texts are set in Syllabus, with titling in Simula. Both are modern takes on the Plantin style of serif, identified by their large lowercase x-height and their low-contrast between strokes, forming sturdy, legible letterforms that still maintains a sense of character.

The design of the book focuses on the diverse narratives in Yang’s work through alternating arrangements – overlapping, overprinting, bleeding, trimming, spinning. Forming and ever changing and shifting rhythm throughout that reacts to the motion found within Yang’s sculptural pieces. Each was laid out in conversation with the artist to create collaborative, graphic interpretations.

A multi-layered cover employs shaped, die-cut holes to reveal different layers of work. Layering key imagery from throughout Yang’s career through the use of extended flaps that slice through the perforations.

The outside cover is printed in a blue Pantone over a grey uncoated, recycled, box-board – embracing the inconsistent fibres and flecks of darker material – with text foil-blocked in matt white. The inside cover imagery is printed on the coated side of the material, forming a collage of texture through these spaces.

A graphic essay about Yang’s life and art by artist Chihoi closes the book, highlighting key moments in her career and summarising her journey up until the exhibition.