Haegue Yang, ‘Color-blown Craters and Dunes #13’, 2012, STPI

In Colour-Blown Craters and Dunes, mundane household materials were acknowledged and transformed to produce embossed and coloured surfaces. Freely yet carefully composed rice grains, various dried spices, Chinese medicine plants, and dried vegetables were pressed into the wet and soft fibre of the paper, resulting in abstract landscapes. The artist was clearly focusing on the organic shapes and forms printed by the materials. This “stained” and “shaped” surface was gently sprayed with water-based cel-vinyl ink in gradations [and from a different angle over] the dried materials [that were] partially covered and partially revealed, so that the visual effect of the uneven surface was enhanced. The dried materials were [then] removed step by step so that the remaining material, mostly rice kernels, formed pure white dots.

About Haegue Yang

Known for using utilitarian household items, from space heaters to extension cords, and placing them out of context, Haegue Yang’s works reflect the transitory nature of the artist’s own experience of living and working in multiple locations. Her works in video explore displacement and alienation in both geographical and personal terms through a combination of fiction and documentary. Yang’s visual, sound, and olfactory installations reveal the intersections of public and private. To this end, she often includes complex formations of ordinary Venetian blinds, which provide porous boundaries for viewers to navigate around. The installation Non-Indépliables (2006 –2011) features drying racks clothed in layers of colorful yarn or adorned with hanging lightbulbs, wires, and assorted pieces of fabric.

Korean, b. 1971, Seoul, South Korea, based in Berlin, Germany & Seoul, South Korea