Haegue Yang, ‘Non-folding - Geometric Tipping #39’, 2012, STPI

Yang’s Non-Foldings is an ongoing series initiated in 2007. It began with origami objects that were created for a scene in her first video essay, Unfolding Places (2004). The different intensities of the black spray paint on the paper convey a particular impression, that of a flattened volume, as if the objects were lost yet remain as ghostly shadows. In 2007 Yang returned to these shadow-printing experiments and again sprayed geometric objects with paint to expose their shadows. This time she closely focused on the process of flattening the volume of the origami object onto a surface. The manipulation of the shadow was more carefully and consciously thought out and was achieved by regulating the angle and the force of the spray paint so as to precisely expose various aspects. The delicately nuanced contours of the objects are captured and varied between white highlights on black paper and black shadows on white paper.

In 2013 the Non-Foldings series was further developed as Geometric Tippings (2013). This time the paths of origami objects in motion were recorded through controlled sprays of paint at different intensities. The result is a trail of the geometry of the object’s base as exposed by the spray paint. This translation of motion coincided with Yang’s research into movement, working primarily with sculptural pieces, in preparation for solo exhibitions at Kunsthaus Bregenz and Modern Art Oxford in 2011.

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