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wolfehall.studio
Wolfe Hall
Research and narrative-led graphic design studio
Anish Kapoor: Early Works
@thejewishmuseum
@anish.kapoor
24 October 2025 – 1 February 2026
–
Exhibition and publication design for the first United States museum presentation dedicated to celebrated artist Anish Kapoor’s early work, presenting rarely seen works on paper, sketchbooks and striking pigment sculpture. Each showing Kapoor’s ongoing investigations into the boundaries of sculpture, colour, and form.
The exhibition design is kept simple to leave space for the bold colours of the artwork, positioning interpretation in clustered groups along the edges of the walls. Labels are produced on a recycled cotton-rag, nodding to the base material of the works on paper.
A richly illustrated, small-format publication accompanies the show, including an interview between Kapoor and Chief Curator, Darsie Alexander, exploring Kapoor’s journey and process. This book takes on a landscape format to allow for paired compositions of works and larger reproductions of installation photography.
The cover of the publication colour matches the early red pigments of Kapoor’s work on paper, punching through with a circular die-cut to reveal an expanse of special ‘Deep Space Black’ ink on the inside in reference to Kapoor’s more recent ‘Vantablack’ work. Sculpture that uses a nanotechnological substance that absorbs nearly all light, playing with a viewers perception of the physical form.
Text is set in LL Ivory, a geometrically designed serif that pairs well with Kapoor’s experimentation with shape.
–
Curator: Darsie Alexander with Shira Backer
Editor: Joanna Ahlberg
Type: LL Ivory by @lineto_com
Photography: Kris Graves
#anishkapoor #jewishmuseum #exhibitiondesign #exhibitioncatalogue #wolfehall
Anish Kapoor: Early Works
@thejewishmuseum
@anish.kapoor
24 October 2025 – 1 February 2026
–
Exhibition and publication design for the first United States museum presentation dedicated to celebrated artist Anish Kapoor’s early work, presenting rarely seen works on paper, sketchbooks and striking pigment sculpture. Each showing Kapoor’s ongoing investigations into the boundaries of sculpture, colour, and form.
The exhibition design is kept simple to leave space for the bold colours of the artwork, positioning interpretation in clustered groups along the edges of the walls. Labels are produced on a recycled cotton-rag, nodding to the base material of the works on paper.
A richly illustrated, small-format publication accompanies the show, including an interview between Kapoor and Chief Curator, Darsie Alexander, exploring Kapoor’s journey and process. This book takes on a landscape format to allow for paired compositions of works and larger reproductions of installation photography.
The cover of the publication colour matches the early red pigments of Kapoor’s work on paper, punching through with a circular die-cut to reveal an expanse of special ‘Deep Space Black’ ink on the inside in reference to Kapoor’s more recent ‘Vantablack’ work. Sculpture that uses a nanotechnological substance that absorbs nearly all light, playing with a viewers perception of the physical form.
Text is set in LL Ivory, a geometrically designed serif that pairs well with Kapoor’s experimentation with shape.
–
Curator: Darsie Alexander with Shira Backer
Editor: Joanna Ahlberg
Type: LL Ivory by @lineto_com
Photography: Kris Graves
#anishkapoor #jewishmuseum #exhibitiondesign #exhibitioncatalogue #wolfehall
Anish Kapoor: Early Works
@thejewishmuseum
@anish.kapoor
24 October 2025 – 1 February 2026
–
Exhibition and publication design for the first United States museum presentation dedicated to celebrated artist Anish Kapoor’s early work, presenting rarely seen works on paper, sketchbooks and striking pigment sculpture. Each showing Kapoor’s ongoing investigations into the boundaries of sculpture, colour, and form.
The exhibition design is kept simple to leave space for the bold colours of the artwork, positioning interpretation in clustered groups along the edges of the walls. Labels are produced on a recycled cotton-rag, nodding to the base material of the works on paper.
A richly illustrated, small-format publication accompanies the show, including an interview between Kapoor and Chief Curator, Darsie Alexander, exploring Kapoor’s journey and process. This book takes on a landscape format to allow for paired compositions of works and larger reproductions of installation photography.
The cover of the publication colour matches the early red pigments of Kapoor’s work on paper, punching through with a circular die-cut to reveal an expanse of special ‘Deep Space Black’ ink on the inside in reference to Kapoor’s more recent ‘Vantablack’ work. Sculpture that uses a nanotechnological substance that absorbs nearly all light, playing with a viewers perception of the physical form.
Text is set in LL Ivory, a geometrically designed serif that pairs well with Kapoor’s experimentation with shape.
–
Curator: Darsie Alexander with Shira Backer
Editor: Joanna Ahlberg
Type: LL Ivory by @lineto_com
Photography: Kris Graves
#anishkapoor #jewishmuseum #exhibitiondesign #exhibitioncatalogue #wolfehall
Anish Kapoor: Early Works
@thejewishmuseum
@anish.kapoor
24 October 2025 – 1 February 2026
–
Exhibition and publication design for the first United States museum presentation dedicated to celebrated artist Anish Kapoor’s early work, presenting rarely seen works on paper, sketchbooks and striking pigment sculpture. Each showing Kapoor’s ongoing investigations into the boundaries of sculpture, colour, and form.
The exhibition design is kept simple to leave space for the bold colours of the artwork, positioning interpretation in clustered groups along the edges of the walls. Labels are produced on a recycled cotton-rag, nodding to the base material of the works on paper.
A richly illustrated, small-format publication accompanies the show, including an interview between Kapoor and Chief Curator, Darsie Alexander, exploring Kapoor’s journey and process. This book takes on a landscape format to allow for paired compositions of works and larger reproductions of installation photography.
The cover of the publication colour matches the early red pigments of Kapoor’s work on paper, punching through with a circular die-cut to reveal an expanse of special ‘Deep Space Black’ ink on the inside in reference to Kapoor’s more recent ‘Vantablack’ work. Sculpture that uses a nanotechnological substance that absorbs nearly all light, playing with a viewers perception of the physical form.
Text is set in LL Ivory, a geometrically designed serif that pairs well with Kapoor’s experimentation with shape.
–
Curator: Darsie Alexander with Shira Backer
Editor: Joanna Ahlberg
Type: LL Ivory by @lineto_com
Photography: Kris Graves
#anishkapoor #jewishmuseum #exhibitiondesign #exhibitioncatalogue #wolfehall
Anish Kapoor: Early Works
@thejewishmuseum
@anish.kapoor
24 October 2025 – 1 February 2026
–
Exhibition and publication design for the first United States museum presentation dedicated to celebrated artist Anish Kapoor’s early work, presenting rarely seen works on paper, sketchbooks and striking pigment sculpture. Each showing Kapoor’s ongoing investigations into the boundaries of sculpture, colour, and form.
The exhibition design is kept simple to leave space for the bold colours of the artwork, positioning interpretation in clustered groups along the edges of the walls. Labels are produced on a recycled cotton-rag, nodding to the base material of the works on paper.
A richly illustrated, small-format publication accompanies the show, including an interview between Kapoor and Chief Curator, Darsie Alexander, exploring Kapoor’s journey and process. This book takes on a landscape format to allow for paired compositions of works and larger reproductions of installation photography.
The cover of the publication colour matches the early red pigments of Kapoor’s work on paper, punching through with a circular die-cut to reveal an expanse of special ‘Deep Space Black’ ink on the inside in reference to Kapoor’s more recent ‘Vantablack’ work. Sculpture that uses a nanotechnological substance that absorbs nearly all light, playing with a viewers perception of the physical form.
Text is set in LL Ivory, a geometrically designed serif that pairs well with Kapoor’s experimentation with shape.
–
Curator: Darsie Alexander with Shira Backer
Editor: Joanna Ahlberg
Type: LL Ivory by @lineto_com
Photography: Kris Graves
#anishkapoor #jewishmuseum #exhibitiondesign #exhibitioncatalogue #wolfehall
Anish Kapoor: Early Works
@thejewishmuseum
@anish.kapoor
24 October 2025 – 1 February 2026
–
Exhibition and publication design for the first United States museum presentation dedicated to celebrated artist Anish Kapoor’s early work, presenting rarely seen works on paper, sketchbooks and striking pigment sculpture. Each showing Kapoor’s ongoing investigations into the boundaries of sculpture, colour, and form.
The exhibition design is kept simple to leave space for the bold colours of the artwork, positioning interpretation in clustered groups along the edges of the walls. Labels are produced on a recycled cotton-rag, nodding to the base material of the works on paper.
A richly illustrated, small-format publication accompanies the show, including an interview between Kapoor and Chief Curator, Darsie Alexander, exploring Kapoor’s journey and process. This book takes on a landscape format to allow for paired compositions of works and larger reproductions of installation photography.
The cover of the publication colour matches the early red pigments of Kapoor’s work on paper, punching through with a circular die-cut to reveal an expanse of special ‘Deep Space Black’ ink on the inside in reference to Kapoor’s more recent ‘Vantablack’ work. Sculpture that uses a nanotechnological substance that absorbs nearly all light, playing with a viewers perception of the physical form.
Text is set in LL Ivory, a geometrically designed serif that pairs well with Kapoor’s experimentation with shape.
–
Curator: Darsie Alexander with Shira Backer
Editor: Joanna Ahlberg
Type: LL Ivory by @lineto_com
Photography: Kris Graves
#anishkapoor #jewishmuseum #exhibitiondesign #exhibitioncatalogue #wolfehall
Anish Kapoor: Early Works
@thejewishmuseum
@anish.kapoor
24 October 2025 – 1 February 2026
–
Exhibition and publication design for the first United States museum presentation dedicated to celebrated artist Anish Kapoor’s early work, presenting rarely seen works on paper, sketchbooks and striking pigment sculpture. Each showing Kapoor’s ongoing investigations into the boundaries of sculpture, colour, and form.
The exhibition design is kept simple to leave space for the bold colours of the artwork, positioning interpretation in clustered groups along the edges of the walls. Labels are produced on a recycled cotton-rag, nodding to the base material of the works on paper.
A richly illustrated, small-format publication accompanies the show, including an interview between Kapoor and Chief Curator, Darsie Alexander, exploring Kapoor’s journey and process. This book takes on a landscape format to allow for paired compositions of works and larger reproductions of installation photography.
The cover of the publication colour matches the early red pigments of Kapoor’s work on paper, punching through with a circular die-cut to reveal an expanse of special ‘Deep Space Black’ ink on the inside in reference to Kapoor’s more recent ‘Vantablack’ work. Sculpture that uses a nanotechnological substance that absorbs nearly all light, playing with a viewers perception of the physical form.
Text is set in LL Ivory, a geometrically designed serif that pairs well with Kapoor’s experimentation with shape.
–
Curator: Darsie Alexander with Shira Backer
Editor: Joanna Ahlberg
Type: LL Ivory by @lineto_com
Photography: Kris Graves
#anishkapoor #jewishmuseum #exhibitiondesign #exhibitioncatalogue #wolfehall
Anish Kapoor: Early Works
@thejewishmuseum
@anish.kapoor
24 October 2025 – 1 February 2026
–
Exhibition and publication design for the first United States museum presentation dedicated to celebrated artist Anish Kapoor’s early work, presenting rarely seen works on paper, sketchbooks and striking pigment sculpture. Each showing Kapoor’s ongoing investigations into the boundaries of sculpture, colour, and form.
The exhibition design is kept simple to leave space for the bold colours of the artwork, positioning interpretation in clustered groups along the edges of the walls. Labels are produced on a recycled cotton-rag, nodding to the base material of the works on paper.
A richly illustrated, small-format publication accompanies the show, including an interview between Kapoor and Chief Curator, Darsie Alexander, exploring Kapoor’s journey and process. This book takes on a landscape format to allow for paired compositions of works and larger reproductions of installation photography.
The cover of the publication colour matches the early red pigments of Kapoor’s work on paper, punching through with a circular die-cut to reveal an expanse of special ‘Deep Space Black’ ink on the inside in reference to Kapoor’s more recent ‘Vantablack’ work. Sculpture that uses a nanotechnological substance that absorbs nearly all light, playing with a viewers perception of the physical form.
Text is set in LL Ivory, a geometrically designed serif that pairs well with Kapoor’s experimentation with shape.
–
Curator: Darsie Alexander with Shira Backer
Editor: Joanna Ahlberg
Type: LL Ivory by @lineto_com
Photography: Kris Graves
#anishkapoor #jewishmuseum #exhibitiondesign #exhibitioncatalogue #wolfehall
Anish Kapoor: Early Works
@thejewishmuseum
@anish.kapoor
24 October 2025 – 1 February 2026
–
Exhibition and publication design for the first United States museum presentation dedicated to celebrated artist Anish Kapoor’s early work, presenting rarely seen works on paper, sketchbooks and striking pigment sculpture. Each showing Kapoor’s ongoing investigations into the boundaries of sculpture, colour, and form.
The exhibition design is kept simple to leave space for the bold colours of the artwork, positioning interpretation in clustered groups along the edges of the walls. Labels are produced on a recycled cotton-rag, nodding to the base material of the works on paper.
A richly illustrated, small-format publication accompanies the show, including an interview between Kapoor and Chief Curator, Darsie Alexander, exploring Kapoor’s journey and process. This book takes on a landscape format to allow for paired compositions of works and larger reproductions of installation photography.
The cover of the publication colour matches the early red pigments of Kapoor’s work on paper, punching through with a circular die-cut to reveal an expanse of special ‘Deep Space Black’ ink on the inside in reference to Kapoor’s more recent ‘Vantablack’ work. Sculpture that uses a nanotechnological substance that absorbs nearly all light, playing with a viewers perception of the physical form.
Text is set in LL Ivory, a geometrically designed serif that pairs well with Kapoor’s experimentation with shape.
–
Curator: Darsie Alexander with Shira Backer
Editor: Joanna Ahlberg
Type: LL Ivory by @lineto_com
Photography: Kris Graves
#anishkapoor #jewishmuseum #exhibitiondesign #exhibitioncatalogue #wolfehall
Magali Reus (@magalireus)
‘Our Volumes’
–
A comprehensive catalogue for the mid-career retrospective of London-based Dutch artist Magali Reus at Museum Kurhaus Kleve, Germany (@museumkurhaus).
Structured like a periodical binding, the publication spans seven volumes, each containing expansive exhibition views and archival work indexing. Every volume has its own ‘cover’ with a tipped-in photograph on rigid kraft paper.
Positioned alongside her own works, Reus selected from over one hundred pieces spanning two decades from the museum’s renowned historical collection.
The catalogue also features a commissioned essay by Evan Moffitt.
–
Design: Wolfe Hall (@wolfehall.studio)
Text: Evan Moffitt (evanpmoffitt)
Publisher: MER. Books (@merbooks.studiolucderycke)
Typeface: Antique Legacy by Optimo (@optimofoundry)
–
#magalireus #ourvolumes #sculpture #artbook #wolfehall
Magali Reus (@magalireus)
‘Our Volumes’
–
A comprehensive catalogue for the mid-career retrospective of London-based Dutch artist Magali Reus at Museum Kurhaus Kleve, Germany (@museumkurhaus).
Structured like a periodical binding, the publication spans seven volumes, each containing expansive exhibition views and archival work indexing. Every volume has its own ‘cover’ with a tipped-in photograph on rigid kraft paper.
Positioned alongside her own works, Reus selected from over one hundred pieces spanning two decades from the museum’s renowned historical collection.
The catalogue also features a commissioned essay by Evan Moffitt.
–
Design: Wolfe Hall (@wolfehall.studio)
Text: Evan Moffitt (evanpmoffitt)
Publisher: MER. Books (@merbooks.studiolucderycke)
Typeface: Antique Legacy by Optimo (@optimofoundry)
–
#magalireus #ourvolumes #sculpture #artbook #wolfehall
Magali Reus (@magalireus)
‘Our Volumes’
–
A comprehensive catalogue for the mid-career retrospective of London-based Dutch artist Magali Reus at Museum Kurhaus Kleve, Germany (@museumkurhaus).
Structured like a periodical binding, the publication spans seven volumes, each containing expansive exhibition views and archival work indexing. Every volume has its own ‘cover’ with a tipped-in photograph on rigid kraft paper.
Positioned alongside her own works, Reus selected from over one hundred pieces spanning two decades from the museum’s renowned historical collection.
The catalogue also features a commissioned essay by Evan Moffitt.
–
Design: Wolfe Hall (@wolfehall.studio)
Text: Evan Moffitt (evanpmoffitt)
Publisher: MER. Books (@merbooks.studiolucderycke)
Typeface: Antique Legacy by Optimo (@optimofoundry)
–
#magalireus #ourvolumes #sculpture #artbook #wolfehall
Magali Reus (@magalireus)
‘Our Volumes’
–
A comprehensive catalogue for the mid-career retrospective of London-based Dutch artist Magali Reus at Museum Kurhaus Kleve, Germany (@museumkurhaus).
Structured like a periodical binding, the publication spans seven volumes, each containing expansive exhibition views and archival work indexing. Every volume has its own ‘cover’ with a tipped-in photograph on rigid kraft paper.
Positioned alongside her own works, Reus selected from over one hundred pieces spanning two decades from the museum’s renowned historical collection.
The catalogue also features a commissioned essay by Evan Moffitt.
–
Design: Wolfe Hall (@wolfehall.studio)
Text: Evan Moffitt (evanpmoffitt)
Publisher: MER. Books (@merbooks.studiolucderycke)
Typeface: Antique Legacy by Optimo (@optimofoundry)
–
#magalireus #ourvolumes #sculpture #artbook #wolfehall
Magali Reus (@magalireus)
‘Our Volumes’
–
A comprehensive catalogue for the mid-career retrospective of London-based Dutch artist Magali Reus at Museum Kurhaus Kleve, Germany (@museumkurhaus).
Structured like a periodical binding, the publication spans seven volumes, each containing expansive exhibition views and archival work indexing. Every volume has its own ‘cover’ with a tipped-in photograph on rigid kraft paper.
Positioned alongside her own works, Reus selected from over one hundred pieces spanning two decades from the museum’s renowned historical collection.
The catalogue also features a commissioned essay by Evan Moffitt.
–
Design: Wolfe Hall (@wolfehall.studio)
Text: Evan Moffitt (evanpmoffitt)
Publisher: MER. Books (@merbooks.studiolucderycke)
Typeface: Antique Legacy by Optimo (@optimofoundry)
–
#magalireus #ourvolumes #sculpture #artbook #wolfehall
Magali Reus (@magalireus)
‘Our Volumes’
–
A comprehensive catalogue for the mid-career retrospective of London-based Dutch artist Magali Reus at Museum Kurhaus Kleve, Germany (@museumkurhaus).
Structured like a periodical binding, the publication spans seven volumes, each containing expansive exhibition views and archival work indexing. Every volume has its own ‘cover’ with a tipped-in photograph on rigid kraft paper.
Positioned alongside her own works, Reus selected from over one hundred pieces spanning two decades from the museum’s renowned historical collection.
The catalogue also features a commissioned essay by Evan Moffitt.
–
Design: Wolfe Hall (@wolfehall.studio)
Text: Evan Moffitt (evanpmoffitt)
Publisher: MER. Books (@merbooks.studiolucderycke)
Typeface: Antique Legacy by Optimo (@optimofoundry)
–
#magalireus #ourvolumes #sculpture #artbook #wolfehall
Magali Reus (@magalireus)
‘Our Volumes’
–
A comprehensive catalogue for the mid-career retrospective of London-based Dutch artist Magali Reus at Museum Kurhaus Kleve, Germany (@museumkurhaus).
Structured like a periodical binding, the publication spans seven volumes, each containing expansive exhibition views and archival work indexing. Every volume has its own ‘cover’ with a tipped-in photograph on rigid kraft paper.
Positioned alongside her own works, Reus selected from over one hundred pieces spanning two decades from the museum’s renowned historical collection.
The catalogue also features a commissioned essay by Evan Moffitt.
–
Design: Wolfe Hall (@wolfehall.studio)
Text: Evan Moffitt (evanpmoffitt)
Publisher: MER. Books (@merbooks.studiolucderycke)
Typeface: Antique Legacy by Optimo (@optimofoundry)
–
#magalireus #ourvolumes #sculpture #artbook #wolfehall
Magali Reus (@magalireus)
‘Our Volumes’
–
A comprehensive catalogue for the mid-career retrospective of London-based Dutch artist Magali Reus at Museum Kurhaus Kleve, Germany (@museumkurhaus).
Structured like a periodical binding, the publication spans seven volumes, each containing expansive exhibition views and archival work indexing. Every volume has its own ‘cover’ with a tipped-in photograph on rigid kraft paper.
Positioned alongside her own works, Reus selected from over one hundred pieces spanning two decades from the museum’s renowned historical collection.
The catalogue also features a commissioned essay by Evan Moffitt.
–
Design: Wolfe Hall (@wolfehall.studio)
Text: Evan Moffitt (evanpmoffitt)
Publisher: MER. Books (@merbooks.studiolucderycke)
Typeface: Antique Legacy by Optimo (@optimofoundry)
–
#magalireus #ourvolumes #sculpture #artbook #wolfehall
Magali Reus (@magalireus)
‘Our Volumes’
–
A comprehensive catalogue for the mid-career retrospective of London-based Dutch artist Magali Reus at Museum Kurhaus Kleve, Germany (@museumkurhaus).
Structured like a periodical binding, the publication spans seven volumes, each containing expansive exhibition views and archival work indexing. Every volume has its own ‘cover’ with a tipped-in photograph on rigid kraft paper.
Positioned alongside her own works, Reus selected from over one hundred pieces spanning two decades from the museum’s renowned historical collection.
The catalogue also features a commissioned essay by Evan Moffitt.
–
Design: Wolfe Hall (@wolfehall.studio)
Text: Evan Moffitt (evanpmoffitt)
Publisher: MER. Books (@merbooks.studiolucderycke)
Typeface: Antique Legacy by Optimo (@optimofoundry)
–
#magalireus #ourvolumes #sculpture #artbook #wolfehall
Magali Reus (@magalireus)
‘Our Volumes’
–
A comprehensive catalogue for the mid-career retrospective of London-based Dutch artist Magali Reus at Museum Kurhaus Kleve, Germany (@museumkurhaus).
Structured like a periodical binding, the publication spans seven volumes, each containing expansive exhibition views and archival work indexing. Every volume has its own ‘cover’ with a tipped-in photograph on rigid kraft paper.
Positioned alongside her own works, Reus selected from over one hundred pieces spanning two decades from the museum’s renowned historical collection.
The catalogue also features a commissioned essay by Evan Moffitt.
–
Design: Wolfe Hall (@wolfehall.studio)
Text: Evan Moffitt (evanpmoffitt)
Publisher: MER. Books (@merbooks.studiolucderycke)
Typeface: Antique Legacy by Optimo (@optimofoundry)
–
#magalireus #ourvolumes #sculpture #artbook #wolfehall
Magali Reus (@magalireus)
‘Our Volumes’
–
A comprehensive catalogue for the mid-career retrospective of London-based Dutch artist Magali Reus at Museum Kurhaus Kleve, Germany (@museumkurhaus).
Structured like a periodical binding, the publication spans seven volumes, each containing expansive exhibition views and archival work indexing. Every volume has its own ‘cover’ with a tipped-in photograph on rigid kraft paper.
Positioned alongside her own works, Reus selected from over one hundred pieces spanning two decades from the museum’s renowned historical collection.
The catalogue also features a commissioned essay by Evan Moffitt.
–
Design: Wolfe Hall (@wolfehall.studio)
Text: Evan Moffitt (evanpmoffitt)
Publisher: MER. Books (@merbooks.studiolucderycke)
Typeface: Antique Legacy by Optimo (@optimofoundry)
–
#magalireus #ourvolumes #sculpture #artbook #wolfehall
Magali Reus (@magalireus)
‘Our Volumes’
–
A comprehensive catalogue for the mid-career retrospective of London-based Dutch artist Magali Reus at Museum Kurhaus Kleve, Germany (@museumkurhaus).
Structured like a periodical binding, the publication spans seven volumes, each containing expansive exhibition views and archival work indexing. Every volume has its own ‘cover’ with a tipped-in photograph on rigid kraft paper.
Positioned alongside her own works, Reus selected from over one hundred pieces spanning two decades from the museum’s renowned historical collection.
The catalogue also features a commissioned essay by Evan Moffitt.
–
Design: Wolfe Hall (@wolfehall.studio)
Text: Evan Moffitt (evanpmoffitt)
Publisher: MER. Books (@merbooks.studiolucderycke)
Typeface: Antique Legacy by Optimo (@optimofoundry)
–
#magalireus #ourvolumes #sculpture #artbook #wolfehall
Magali Reus (@magalireus)
‘Our Volumes’
–
A comprehensive catalogue for the mid-career retrospective of London-based Dutch artist Magali Reus at Museum Kurhaus Kleve, Germany (@museumkurhaus).
Structured like a periodical binding, the publication spans seven volumes, each containing expansive exhibition views and archival work indexing. Every volume has its own ‘cover’ with a tipped-in photograph on rigid kraft paper.
Positioned alongside her own works, Reus selected from over one hundred pieces spanning two decades from the museum’s renowned historical collection.
The catalogue also features a commissioned essay by Evan Moffitt.
–
Design: Wolfe Hall (@wolfehall.studio)
Text: Evan Moffitt (evanpmoffitt)
Publisher: MER. Books (@merbooks.studiolucderycke)
Typeface: Antique Legacy by Optimo (@optimofoundry)
–
#magalireus #ourvolumes #sculpture #artbook #wolfehall
Magali Reus (@magalireus)
‘Our Volumes’
–
A comprehensive catalogue for the mid-career retrospective of London-based Dutch artist Magali Reus at Museum Kurhaus Kleve, Germany (@museumkurhaus).
Structured like a periodical binding, the publication spans seven volumes, each containing expansive exhibition views and archival work indexing. Every volume has its own ‘cover’ with a tipped-in photograph on rigid kraft paper.
Positioned alongside her own works, Reus selected from over one hundred pieces spanning two decades from the museum’s renowned historical collection.
The catalogue also features a commissioned essay by Evan Moffitt.
–
Design: Wolfe Hall (@wolfehall.studio)
Text: Evan Moffitt (evanpmoffitt)
Publisher: MER. Books (@merbooks.studiolucderycke)
Typeface: Antique Legacy by Optimo (@optimofoundry)
–
#magalireus #ourvolumes #sculpture #artbook #wolfehall
Magali Reus (@magalireus)
‘Our Volumes’
–
A comprehensive catalogue for the mid-career retrospective of London-based Dutch artist Magali Reus at Museum Kurhaus Kleve, Germany (@museumkurhaus).
Structured like a periodical binding, the publication spans seven volumes, each containing expansive exhibition views and archival work indexing. Every volume has its own ‘cover’ with a tipped-in photograph on rigid kraft paper.
Positioned alongside her own works, Reus selected from over one hundred pieces spanning two decades from the museum’s renowned historical collection.
The catalogue also features a commissioned essay by Evan Moffitt.
–
Design: Wolfe Hall (@wolfehall.studio)
Text: Evan Moffitt (evanpmoffitt)
Publisher: MER. Books (@merbooks.studiolucderycke)
Typeface: Antique Legacy by Optimo (@optimofoundry)
–
#magalireus #ourvolumes #sculpture #artbook #wolfehall
Magali Reus (@magalireus)
‘Our Volumes’
–
A comprehensive catalogue for the mid-career retrospective of London-based Dutch artist Magali Reus at Museum Kurhaus Kleve, Germany (@museumkurhaus).
Structured like a periodical binding, the publication spans seven volumes, each containing expansive exhibition views and archival work indexing. Every volume has its own ‘cover’ with a tipped-in photograph on rigid kraft paper.
Positioned alongside her own works, Reus selected from over one hundred pieces spanning two decades from the museum’s renowned historical collection.
The catalogue also features a commissioned essay by Evan Moffitt.
–
Design: Wolfe Hall (@wolfehall.studio)
Text: Evan Moffitt (evanpmoffitt)
Publisher: MER. Books (@merbooks.studiolucderycke)
Typeface: Antique Legacy by Optimo (@optimofoundry)
–
#magalireus #ourvolumes #sculpture #artbook #wolfehall
Joy Gregory: Catching Flies with Honey
@whitechapelgallery
8 October 2025 – 1 March 2026
–
‘Catching Flies with Honey’ is the first major survey exhibition and publication of artist Joy Gregory, whose culturally resonant and materially rich practice takes shape through a diverse range of media, ranging from photography, film, and installations, through to textile work.
The large-scale book divides Gregory’s artwork into numerous series, with multiple essays and an interview interspersed throughout. The cover poetically interplays typography and stylistic interpretations of a self-portrait (front) and a blind-debossed branch of vegetation, taken from Gregory’s cyanotype explorations (reverse).
The exhibition design forms a simplified translation of decorative design elements found in the catalogue. Featuring signpainted lettering to give a human touch and a subtle shifting variation rather than a perfectly mechanical reproduction.
The series titles are formatted in a mix of regular uppercase capitals and italic lowercase letters, referencing decorative botanical notation, a linking theme found in several series of Gregory’s works.
–
Curators: Gilane Tawadros, Katrina Schwarz
Publisher: @prestel_publishing @whitechapelgallery_books
Type: ABC Otto and ABC ROM by @abcdinamo
Photography: Above Ground Studio
–
#joygregory #whitechapelgallery #exhibition #exhibitiondesign #wolfehall
Joy Gregory: Catching Flies with Honey
@whitechapelgallery
8 October 2025 – 1 March 2026
–
‘Catching Flies with Honey’ is the first major survey exhibition and publication of artist Joy Gregory, whose culturally resonant and materially rich practice takes shape through a diverse range of media, ranging from photography, film, and installations, through to textile work.
The large-scale book divides Gregory’s artwork into numerous series, with multiple essays and an interview interspersed throughout. The cover poetically interplays typography and stylistic interpretations of a self-portrait (front) and a blind-debossed branch of vegetation, taken from Gregory’s cyanotype explorations (reverse).
The exhibition design forms a simplified translation of decorative design elements found in the catalogue. Featuring signpainted lettering to give a human touch and a subtle shifting variation rather than a perfectly mechanical reproduction.
The series titles are formatted in a mix of regular uppercase capitals and italic lowercase letters, referencing decorative botanical notation, a linking theme found in several series of Gregory’s works.
–
Curators: Gilane Tawadros, Katrina Schwarz
Publisher: @prestel_publishing @whitechapelgallery_books
Type: ABC Otto and ABC ROM by @abcdinamo
Photography: Above Ground Studio
–
#joygregory #whitechapelgallery #exhibition #exhibitiondesign #wolfehall
Joy Gregory: Catching Flies with Honey
@whitechapelgallery
8 October 2025 – 1 March 2026
–
‘Catching Flies with Honey’ is the first major survey exhibition and publication of artist Joy Gregory, whose culturally resonant and materially rich practice takes shape through a diverse range of media, ranging from photography, film, and installations, through to textile work.
The large-scale book divides Gregory’s artwork into numerous series, with multiple essays and an interview interspersed throughout. The cover poetically interplays typography and stylistic interpretations of a self-portrait (front) and a blind-debossed branch of vegetation, taken from Gregory’s cyanotype explorations (reverse).
The exhibition design forms a simplified translation of decorative design elements found in the catalogue. Featuring signpainted lettering to give a human touch and a subtle shifting variation rather than a perfectly mechanical reproduction.
The series titles are formatted in a mix of regular uppercase capitals and italic lowercase letters, referencing decorative botanical notation, a linking theme found in several series of Gregory’s works.
–
Curators: Gilane Tawadros, Katrina Schwarz
Publisher: @prestel_publishing @whitechapelgallery_books
Type: ABC Otto and ABC ROM by @abcdinamo
Photography: Above Ground Studio
–
#joygregory #whitechapelgallery #exhibition #exhibitiondesign #wolfehall
Joy Gregory: Catching Flies with Honey
@whitechapelgallery
8 October 2025 – 1 March 2026
–
‘Catching Flies with Honey’ is the first major survey exhibition and publication of artist Joy Gregory, whose culturally resonant and materially rich practice takes shape through a diverse range of media, ranging from photography, film, and installations, through to textile work.
The large-scale book divides Gregory’s artwork into numerous series, with multiple essays and an interview interspersed throughout. The cover poetically interplays typography and stylistic interpretations of a self-portrait (front) and a blind-debossed branch of vegetation, taken from Gregory’s cyanotype explorations (reverse).
The exhibition design forms a simplified translation of decorative design elements found in the catalogue. Featuring signpainted lettering to give a human touch and a subtle shifting variation rather than a perfectly mechanical reproduction.
The series titles are formatted in a mix of regular uppercase capitals and italic lowercase letters, referencing decorative botanical notation, a linking theme found in several series of Gregory’s works.
–
Curators: Gilane Tawadros, Katrina Schwarz
Publisher: @prestel_publishing @whitechapelgallery_books
Type: ABC Otto and ABC ROM by @abcdinamo
Photography: Above Ground Studio
–
#joygregory #whitechapelgallery #exhibition #exhibitiondesign #wolfehall
Joy Gregory: Catching Flies with Honey
@whitechapelgallery
8 October 2025 – 1 March 2026
–
‘Catching Flies with Honey’ is the first major survey exhibition and publication of artist Joy Gregory, whose culturally resonant and materially rich practice takes shape through a diverse range of media, ranging from photography, film, and installations, through to textile work.
The large-scale book divides Gregory’s artwork into numerous series, with multiple essays and an interview interspersed throughout. The cover poetically interplays typography and stylistic interpretations of a self-portrait (front) and a blind-debossed branch of vegetation, taken from Gregory’s cyanotype explorations (reverse).
The exhibition design forms a simplified translation of decorative design elements found in the catalogue. Featuring signpainted lettering to give a human touch and a subtle shifting variation rather than a perfectly mechanical reproduction.
The series titles are formatted in a mix of regular uppercase capitals and italic lowercase letters, referencing decorative botanical notation, a linking theme found in several series of Gregory’s works.
–
Curators: Gilane Tawadros, Katrina Schwarz
Publisher: @prestel_publishing @whitechapelgallery_books
Type: ABC Otto and ABC ROM by @abcdinamo
Photography: Above Ground Studio
–
#joygregory #whitechapelgallery #exhibition #exhibitiondesign #wolfehall
Joy Gregory: Catching Flies with Honey
@whitechapelgallery
8 October 2025 – 1 March 2026
–
‘Catching Flies with Honey’ is the first major survey exhibition and publication of artist Joy Gregory, whose culturally resonant and materially rich practice takes shape through a diverse range of media, ranging from photography, film, and installations, through to textile work.
The large-scale book divides Gregory’s artwork into numerous series, with multiple essays and an interview interspersed throughout. The cover poetically interplays typography and stylistic interpretations of a self-portrait (front) and a blind-debossed branch of vegetation, taken from Gregory’s cyanotype explorations (reverse).
The exhibition design forms a simplified translation of decorative design elements found in the catalogue. Featuring signpainted lettering to give a human touch and a subtle shifting variation rather than a perfectly mechanical reproduction.
The series titles are formatted in a mix of regular uppercase capitals and italic lowercase letters, referencing decorative botanical notation, a linking theme found in several series of Gregory’s works.
–
Curators: Gilane Tawadros, Katrina Schwarz
Publisher: @prestel_publishing @whitechapelgallery_books
Type: ABC Otto and ABC ROM by @abcdinamo
Photography: Above Ground Studio
–
#joygregory #whitechapelgallery #exhibition #exhibitiondesign #wolfehall
Joy Gregory: Catching Flies with Honey
@whitechapelgallery
8 October 2025 – 1 March 2026
–
‘Catching Flies with Honey’ is the first major survey exhibition and publication of artist Joy Gregory, whose culturally resonant and materially rich practice takes shape through a diverse range of media, ranging from photography, film, and installations, through to textile work.
The large-scale book divides Gregory’s artwork into numerous series, with multiple essays and an interview interspersed throughout. The cover poetically interplays typography and stylistic interpretations of a self-portrait (front) and a blind-debossed branch of vegetation, taken from Gregory’s cyanotype explorations (reverse).
The exhibition design forms a simplified translation of decorative design elements found in the catalogue. Featuring signpainted lettering to give a human touch and a subtle shifting variation rather than a perfectly mechanical reproduction.
The series titles are formatted in a mix of regular uppercase capitals and italic lowercase letters, referencing decorative botanical notation, a linking theme found in several series of Gregory’s works.
–
Curators: Gilane Tawadros, Katrina Schwarz
Publisher: @prestel_publishing @whitechapelgallery_books
Type: ABC Otto and ABC ROM by @abcdinamo
Photography: Above Ground Studio
–
#joygregory #whitechapelgallery #exhibition #exhibitiondesign #wolfehall
Joy Gregory: Catching Flies with Honey
@whitechapelgallery
8 October 2025 – 1 March 2026
–
‘Catching Flies with Honey’ is the first major survey exhibition and publication of artist Joy Gregory, whose culturally resonant and materially rich practice takes shape through a diverse range of media, ranging from photography, film, and installations, through to textile work.
The large-scale book divides Gregory’s artwork into numerous series, with multiple essays and an interview interspersed throughout. The cover poetically interplays typography and stylistic interpretations of a self-portrait (front) and a blind-debossed branch of vegetation, taken from Gregory’s cyanotype explorations (reverse).
The exhibition design forms a simplified translation of decorative design elements found in the catalogue. Featuring signpainted lettering to give a human touch and a subtle shifting variation rather than a perfectly mechanical reproduction.
The series titles are formatted in a mix of regular uppercase capitals and italic lowercase letters, referencing decorative botanical notation, a linking theme found in several series of Gregory’s works.
–
Curators: Gilane Tawadros, Katrina Schwarz
Publisher: @prestel_publishing @whitechapelgallery_books
Type: ABC Otto and ABC ROM by @abcdinamo
Photography: Above Ground Studio
–
#joygregory #whitechapelgallery #exhibition #exhibitiondesign #wolfehall
Joy Gregory: Catching Flies with Honey
@whitechapelgallery
8 October 2025 – 1 March 2026
–
‘Catching Flies with Honey’ is the first major survey exhibition and publication of artist Joy Gregory, whose culturally resonant and materially rich practice takes shape through a diverse range of media, ranging from photography, film, and installations, through to textile work.
The large-scale book divides Gregory’s artwork into numerous series, with multiple essays and an interview interspersed throughout. The cover poetically interplays typography and stylistic interpretations of a self-portrait (front) and a blind-debossed branch of vegetation, taken from Gregory’s cyanotype explorations (reverse).
The exhibition design forms a simplified translation of decorative design elements found in the catalogue. Featuring signpainted lettering to give a human touch and a subtle shifting variation rather than a perfectly mechanical reproduction.
The series titles are formatted in a mix of regular uppercase capitals and italic lowercase letters, referencing decorative botanical notation, a linking theme found in several series of Gregory’s works.
–
Curators: Gilane Tawadros, Katrina Schwarz
Publisher: @prestel_publishing @whitechapelgallery_books
Type: ABC Otto and ABC ROM by @abcdinamo
Photography: Above Ground Studio
–
#joygregory #whitechapelgallery #exhibition #exhibitiondesign #wolfehall
Joy Gregory: Catching Flies with Honey
@whitechapelgallery
8 October 2025 – 1 March 2026
–
‘Catching Flies with Honey’ is the first major survey exhibition and publication of artist Joy Gregory, whose culturally resonant and materially rich practice takes shape through a diverse range of media, ranging from photography, film, and installations, through to textile work.
The large-scale book divides Gregory’s artwork into numerous series, with multiple essays and an interview interspersed throughout. The cover poetically interplays typography and stylistic interpretations of a self-portrait (front) and a blind-debossed branch of vegetation, taken from Gregory’s cyanotype explorations (reverse).
The exhibition design forms a simplified translation of decorative design elements found in the catalogue. Featuring signpainted lettering to give a human touch and a subtle shifting variation rather than a perfectly mechanical reproduction.
The series titles are formatted in a mix of regular uppercase capitals and italic lowercase letters, referencing decorative botanical notation, a linking theme found in several series of Gregory’s works.
–
Curators: Gilane Tawadros, Katrina Schwarz
Publisher: @prestel_publishing @whitechapelgallery_books
Type: ABC Otto and ABC ROM by @abcdinamo
Photography: Above Ground Studio
–
#joygregory #whitechapelgallery #exhibition #exhibitiondesign #wolfehall
Thirst: In Search of Freshwater
@wellcomecollection
26 June 2025 – 1 February 2026
–
Looking back at the making of ‘Thirst: In Search of Freshwater’, which is now in its final weeks at the Wellcome Collection.
Working with ceramicist Charlotte Moore, we created titling for the exhibition with rounded pipe-like edges, and explored finishes and glazes that responded to the environments of each section: Aridity, Rain, Glaciers, Surface Water and Groundwater. For instance, combining stoneware with material from lost London rivers for Groundwater, or impacting the clay’s surface with water droplets for Rain.
Historically, clay has been shaped and moulded by humanity as a sustainable and natural way to transport and store water. The Romans were one of the first to innovate with municipal water systems in their towns. Lead water pipes (fistulae) – often inscribed with patrons’ names – supplied water to the homes of Rome’s wealthy citizens. Terracotta pipes were used in towns, cities, and areas of larger population density, where they could be cheaply made and quicker to repair. Examples of this lettering can be found in the exhibition.
–
Curator: @janicecyli
3D Design: @material_cultures
Ceramics: @charlotte.l.moore
Photography: @thomasadank and Charlotte Moore
Type: ABC Solar by @abcdinamo
–
#thirstexhibition #wellcomecollection #water #exhibition #wolfehall
Thirst: In Search of Freshwater
@wellcomecollection
26 June 2025 – 1 February 2026
–
Looking back at the making of ‘Thirst: In Search of Freshwater’, which is now in its final weeks at the Wellcome Collection.
Working with ceramicist Charlotte Moore, we created titling for the exhibition with rounded pipe-like edges, and explored finishes and glazes that responded to the environments of each section: Aridity, Rain, Glaciers, Surface Water and Groundwater. For instance, combining stoneware with material from lost London rivers for Groundwater, or impacting the clay’s surface with water droplets for Rain.
Historically, clay has been shaped and moulded by humanity as a sustainable and natural way to transport and store water. The Romans were one of the first to innovate with municipal water systems in their towns. Lead water pipes (fistulae) – often inscribed with patrons’ names – supplied water to the homes of Rome’s wealthy citizens. Terracotta pipes were used in towns, cities, and areas of larger population density, where they could be cheaply made and quicker to repair. Examples of this lettering can be found in the exhibition.
–
Curator: @janicecyli
3D Design: @material_cultures
Ceramics: @charlotte.l.moore
Photography: @thomasadank and Charlotte Moore
Type: ABC Solar by @abcdinamo
–
#thirstexhibition #wellcomecollection #water #exhibition #wolfehall
Thirst: In Search of Freshwater
@wellcomecollection
26 June 2025 – 1 February 2026
–
Looking back at the making of ‘Thirst: In Search of Freshwater’, which is now in its final weeks at the Wellcome Collection.
Working with ceramicist Charlotte Moore, we created titling for the exhibition with rounded pipe-like edges, and explored finishes and glazes that responded to the environments of each section: Aridity, Rain, Glaciers, Surface Water and Groundwater. For instance, combining stoneware with material from lost London rivers for Groundwater, or impacting the clay’s surface with water droplets for Rain.
Historically, clay has been shaped and moulded by humanity as a sustainable and natural way to transport and store water. The Romans were one of the first to innovate with municipal water systems in their towns. Lead water pipes (fistulae) – often inscribed with patrons’ names – supplied water to the homes of Rome’s wealthy citizens. Terracotta pipes were used in towns, cities, and areas of larger population density, where they could be cheaply made and quicker to repair. Examples of this lettering can be found in the exhibition.
–
Curator: @janicecyli
3D Design: @material_cultures
Ceramics: @charlotte.l.moore
Photography: @thomasadank and Charlotte Moore
Type: ABC Solar by @abcdinamo
–
#thirstexhibition #wellcomecollection #water #exhibition #wolfehall
Thirst: In Search of Freshwater
@wellcomecollection
26 June 2025 – 1 February 2026
–
Looking back at the making of ‘Thirst: In Search of Freshwater’, which is now in its final weeks at the Wellcome Collection.
Working with ceramicist Charlotte Moore, we created titling for the exhibition with rounded pipe-like edges, and explored finishes and glazes that responded to the environments of each section: Aridity, Rain, Glaciers, Surface Water and Groundwater. For instance, combining stoneware with material from lost London rivers for Groundwater, or impacting the clay’s surface with water droplets for Rain.
Historically, clay has been shaped and moulded by humanity as a sustainable and natural way to transport and store water. The Romans were one of the first to innovate with municipal water systems in their towns. Lead water pipes (fistulae) – often inscribed with patrons’ names – supplied water to the homes of Rome’s wealthy citizens. Terracotta pipes were used in towns, cities, and areas of larger population density, where they could be cheaply made and quicker to repair. Examples of this lettering can be found in the exhibition.
–
Curator: @janicecyli
3D Design: @material_cultures
Ceramics: @charlotte.l.moore
Photography: @thomasadank and Charlotte Moore
Type: ABC Solar by @abcdinamo
–
#thirstexhibition #wellcomecollection #water #exhibition #wolfehall
Thirst: In Search of Freshwater
@wellcomecollection
26 June 2025 – 1 February 2026
–
Looking back at the making of ‘Thirst: In Search of Freshwater’, which is now in its final weeks at the Wellcome Collection.
Working with ceramicist Charlotte Moore, we created titling for the exhibition with rounded pipe-like edges, and explored finishes and glazes that responded to the environments of each section: Aridity, Rain, Glaciers, Surface Water and Groundwater. For instance, combining stoneware with material from lost London rivers for Groundwater, or impacting the clay’s surface with water droplets for Rain.
Historically, clay has been shaped and moulded by humanity as a sustainable and natural way to transport and store water. The Romans were one of the first to innovate with municipal water systems in their towns. Lead water pipes (fistulae) – often inscribed with patrons’ names – supplied water to the homes of Rome’s wealthy citizens. Terracotta pipes were used in towns, cities, and areas of larger population density, where they could be cheaply made and quicker to repair. Examples of this lettering can be found in the exhibition.
–
Curator: @janicecyli
3D Design: @material_cultures
Ceramics: @charlotte.l.moore
Photography: @thomasadank and Charlotte Moore
Type: ABC Solar by @abcdinamo
–
#thirstexhibition #wellcomecollection #water #exhibition #wolfehall
Thirst: In Search of Freshwater
@wellcomecollection
26 June 2025 – 1 February 2026
–
Looking back at the making of ‘Thirst: In Search of Freshwater’, which is now in its final weeks at the Wellcome Collection.
Working with ceramicist Charlotte Moore, we created titling for the exhibition with rounded pipe-like edges, and explored finishes and glazes that responded to the environments of each section: Aridity, Rain, Glaciers, Surface Water and Groundwater. For instance, combining stoneware with material from lost London rivers for Groundwater, or impacting the clay’s surface with water droplets for Rain.
Historically, clay has been shaped and moulded by humanity as a sustainable and natural way to transport and store water. The Romans were one of the first to innovate with municipal water systems in their towns. Lead water pipes (fistulae) – often inscribed with patrons’ names – supplied water to the homes of Rome’s wealthy citizens. Terracotta pipes were used in towns, cities, and areas of larger population density, where they could be cheaply made and quicker to repair. Examples of this lettering can be found in the exhibition.
–
Curator: @janicecyli
3D Design: @material_cultures
Ceramics: @charlotte.l.moore
Photography: @thomasadank and Charlotte Moore
Type: ABC Solar by @abcdinamo
–
#thirstexhibition #wellcomecollection #water #exhibition #wolfehall
Thirst: In Search of Freshwater
@wellcomecollection
26 June 2025 – 1 February 2026
–
Looking back at the making of ‘Thirst: In Search of Freshwater’, which is now in its final weeks at the Wellcome Collection.
Working with ceramicist Charlotte Moore, we created titling for the exhibition with rounded pipe-like edges, and explored finishes and glazes that responded to the environments of each section: Aridity, Rain, Glaciers, Surface Water and Groundwater. For instance, combining stoneware with material from lost London rivers for Groundwater, or impacting the clay’s surface with water droplets for Rain.
Historically, clay has been shaped and moulded by humanity as a sustainable and natural way to transport and store water. The Romans were one of the first to innovate with municipal water systems in their towns. Lead water pipes (fistulae) – often inscribed with patrons’ names – supplied water to the homes of Rome’s wealthy citizens. Terracotta pipes were used in towns, cities, and areas of larger population density, where they could be cheaply made and quicker to repair. Examples of this lettering can be found in the exhibition.
–
Curator: @janicecyli
3D Design: @material_cultures
Ceramics: @charlotte.l.moore
Photography: @thomasadank and Charlotte Moore
Type: ABC Solar by @abcdinamo
–
#thirstexhibition #wellcomecollection #water #exhibition #wolfehall
Thirst: In Search of Freshwater
@wellcomecollection
26 June 2025 – 1 February 2026
–
Looking back at the making of ‘Thirst: In Search of Freshwater’, which is now in its final weeks at the Wellcome Collection.
Working with ceramicist Charlotte Moore, we created titling for the exhibition with rounded pipe-like edges, and explored finishes and glazes that responded to the environments of each section: Aridity, Rain, Glaciers, Surface Water and Groundwater. For instance, combining stoneware with material from lost London rivers for Groundwater, or impacting the clay’s surface with water droplets for Rain.
Historically, clay has been shaped and moulded by humanity as a sustainable and natural way to transport and store water. The Romans were one of the first to innovate with municipal water systems in their towns. Lead water pipes (fistulae) – often inscribed with patrons’ names – supplied water to the homes of Rome’s wealthy citizens. Terracotta pipes were used in towns, cities, and areas of larger population density, where they could be cheaply made and quicker to repair. Examples of this lettering can be found in the exhibition.
–
Curator: @janicecyli
3D Design: @material_cultures
Ceramics: @charlotte.l.moore
Photography: @thomasadank and Charlotte Moore
Type: ABC Solar by @abcdinamo
–
#thirstexhibition #wellcomecollection #water #exhibition #wolfehall
✨ Contents of 2025 ✨
1. Modern Japanese Printmakers: New Waves and Eruptions (@tigertanuki_japaneseart @prestel_publishing)
2. Joy Gregory: Catching Flies with Honey (@joy_gregory_studio @whitechapelgallery, @prestel_publishing)
3. Steve Harrison: Forty (@steve_harrison_pots @stuartshavemodernart)
4. Planetary Realism: Art Against Apocalypse (@bad_honey_monster @sternbergpress_official)
5. Antony Gormley: Survey (@nashersculpturecenter @delmonico_books)
6. Here is a Gale Warning: Art, Crisis, and Survival (@kettlesyard)
7. Serpentine Pavilion 2025: A Capsule in Time: Marina Tabassum Architects (@marinatabassum @serpentineuk)
8. Rodrigo Hernández: Carrés (@rodrigo___h @kh_bremen @paktamsterdam)
9. Catherine Goodman (@cathgoodman_studio @hauserwirth)
10. Anish Kapoor: Early Works (@anish.kapoor @thejewishmuseum)
11. Duane Linklater: akâmi- (@new_curators)
12. Dirty Looks: Desire and Decay in Fashion (@barbicancentre)
13. Donald Locke: Resistant Forms (@spikeisland @ikongallery @camdenartcentre)
14. Paula Rego: Visions of English Literature (@hayward.gallery)
15. Magali Reus: Our Volumes (@magalireus @museumkurhaus @merbooks.studiolucderycke)
16. Cynthia Hawkins: Maps Necessary for a Walk in 4D, Chapter 4 (@hollybush_gardens)
–
You can read in-depth explorations of each project, and more, on our website. Select the ‘Visual Index’ button on the bottom left of the project list to view image thumbnails. Link in bio.
–
#artbook #bookdesign #typography #wolfehall
distinguish the limit from the edge
Theresa Hak Kyung Cha and Jimmy Robert
@bookworksuk
@jimmyvaleryrobert
–
Exploring the intergenerational dialogue between artists Theresa Hak Kyung Cha and Jimmy Robert. Their encounter takes shape through the meeting of text and image – selected works from Cha’s canon and Robert’s practice converging around a shared formal language: the fold, both in method and metaphor.
Robert treats the page as a sculptural material – shaped by hand, marked by touch. In Cha’s work, the fold surfaces through visual poetry, where language gathers, fractures, and reforms. ‘L’Image Concrete feuille L’Objet Abstrait’ (1976) and ‘Untitled (après tu parti)’ (1976), presented here for the first time.
Two distinct book blocks, one for each artist, are bound from either side of a central backing board, inviting the reader to interweave, overlay, and encounter each practice uniquely.
–
Edited by Jacob Korczynski
Design by @wolfehall.studio
Published by Book Works @bookworksuk in association with Participant Inc. @participantafterdark
Type: Focal by @commercialtype
–
#jimmyrobert #theresahakkyungcha #bookworks #artbook #wolfehall
distinguish the limit from the edge
Theresa Hak Kyung Cha and Jimmy Robert
@bookworksuk
@jimmyvaleryrobert
–
Exploring the intergenerational dialogue between artists Theresa Hak Kyung Cha and Jimmy Robert. Their encounter takes shape through the meeting of text and image – selected works from Cha’s canon and Robert’s practice converging around a shared formal language: the fold, both in method and metaphor.
Robert treats the page as a sculptural material – shaped by hand, marked by touch. In Cha’s work, the fold surfaces through visual poetry, where language gathers, fractures, and reforms. ‘L’Image Concrete feuille L’Objet Abstrait’ (1976) and ‘Untitled (après tu parti)’ (1976), presented here for the first time.
Two distinct book blocks, one for each artist, are bound from either side of a central backing board, inviting the reader to interweave, overlay, and encounter each practice uniquely.
–
Edited by Jacob Korczynski
Design by @wolfehall.studio
Published by Book Works @bookworksuk in association with Participant Inc. @participantafterdark
Type: Focal by @commercialtype
–
#jimmyrobert #theresahakkyungcha #bookworks #artbook #wolfehall
distinguish the limit from the edge
Theresa Hak Kyung Cha and Jimmy Robert
@bookworksuk
@jimmyvaleryrobert
–
Exploring the intergenerational dialogue between artists Theresa Hak Kyung Cha and Jimmy Robert. Their encounter takes shape through the meeting of text and image – selected works from Cha’s canon and Robert’s practice converging around a shared formal language: the fold, both in method and metaphor.
Robert treats the page as a sculptural material – shaped by hand, marked by touch. In Cha’s work, the fold surfaces through visual poetry, where language gathers, fractures, and reforms. ‘L’Image Concrete feuille L’Objet Abstrait’ (1976) and ‘Untitled (après tu parti)’ (1976), presented here for the first time.
Two distinct book blocks, one for each artist, are bound from either side of a central backing board, inviting the reader to interweave, overlay, and encounter each practice uniquely.
–
Edited by Jacob Korczynski
Design by @wolfehall.studio
Published by Book Works @bookworksuk in association with Participant Inc. @participantafterdark
Type: Focal by @commercialtype
–
#jimmyrobert #theresahakkyungcha #bookworks #artbook #wolfehall
distinguish the limit from the edge
Theresa Hak Kyung Cha and Jimmy Robert
@bookworksuk
@jimmyvaleryrobert
–
Exploring the intergenerational dialogue between artists Theresa Hak Kyung Cha and Jimmy Robert. Their encounter takes shape through the meeting of text and image – selected works from Cha’s canon and Robert’s practice converging around a shared formal language: the fold, both in method and metaphor.
Robert treats the page as a sculptural material – shaped by hand, marked by touch. In Cha’s work, the fold surfaces through visual poetry, where language gathers, fractures, and reforms. ‘L’Image Concrete feuille L’Objet Abstrait’ (1976) and ‘Untitled (après tu parti)’ (1976), presented here for the first time.
Two distinct book blocks, one for each artist, are bound from either side of a central backing board, inviting the reader to interweave, overlay, and encounter each practice uniquely.
–
Edited by Jacob Korczynski
Design by @wolfehall.studio
Published by Book Works @bookworksuk in association with Participant Inc. @participantafterdark
Type: Focal by @commercialtype
–
#jimmyrobert #theresahakkyungcha #bookworks #artbook #wolfehall
distinguish the limit from the edge
Theresa Hak Kyung Cha and Jimmy Robert
@bookworksuk
@jimmyvaleryrobert
–
Exploring the intergenerational dialogue between artists Theresa Hak Kyung Cha and Jimmy Robert. Their encounter takes shape through the meeting of text and image – selected works from Cha’s canon and Robert’s practice converging around a shared formal language: the fold, both in method and metaphor.
Robert treats the page as a sculptural material – shaped by hand, marked by touch. In Cha’s work, the fold surfaces through visual poetry, where language gathers, fractures, and reforms. ‘L’Image Concrete feuille L’Objet Abstrait’ (1976) and ‘Untitled (après tu parti)’ (1976), presented here for the first time.
Two distinct book blocks, one for each artist, are bound from either side of a central backing board, inviting the reader to interweave, overlay, and encounter each practice uniquely.
–
Edited by Jacob Korczynski
Design by @wolfehall.studio
Published by Book Works @bookworksuk in association with Participant Inc. @participantafterdark
Type: Focal by @commercialtype
–
#jimmyrobert #theresahakkyungcha #bookworks #artbook #wolfehall
distinguish the limit from the edge
Theresa Hak Kyung Cha and Jimmy Robert
@bookworksuk
@jimmyvaleryrobert
–
Exploring the intergenerational dialogue between artists Theresa Hak Kyung Cha and Jimmy Robert. Their encounter takes shape through the meeting of text and image – selected works from Cha’s canon and Robert’s practice converging around a shared formal language: the fold, both in method and metaphor.
Robert treats the page as a sculptural material – shaped by hand, marked by touch. In Cha’s work, the fold surfaces through visual poetry, where language gathers, fractures, and reforms. ‘L’Image Concrete feuille L’Objet Abstrait’ (1976) and ‘Untitled (après tu parti)’ (1976), presented here for the first time.
Two distinct book blocks, one for each artist, are bound from either side of a central backing board, inviting the reader to interweave, overlay, and encounter each practice uniquely.
–
Edited by Jacob Korczynski
Design by @wolfehall.studio
Published by Book Works @bookworksuk in association with Participant Inc. @participantafterdark
Type: Focal by @commercialtype
–
#jimmyrobert #theresahakkyungcha #bookworks #artbook #wolfehall
distinguish the limit from the edge
Theresa Hak Kyung Cha and Jimmy Robert
@bookworksuk
@jimmyvaleryrobert
–
Exploring the intergenerational dialogue between artists Theresa Hak Kyung Cha and Jimmy Robert. Their encounter takes shape through the meeting of text and image – selected works from Cha’s canon and Robert’s practice converging around a shared formal language: the fold, both in method and metaphor.
Robert treats the page as a sculptural material – shaped by hand, marked by touch. In Cha’s work, the fold surfaces through visual poetry, where language gathers, fractures, and reforms. ‘L’Image Concrete feuille L’Objet Abstrait’ (1976) and ‘Untitled (après tu parti)’ (1976), presented here for the first time.
Two distinct book blocks, one for each artist, are bound from either side of a central backing board, inviting the reader to interweave, overlay, and encounter each practice uniquely.
–
Edited by Jacob Korczynski
Design by @wolfehall.studio
Published by Book Works @bookworksuk in association with Participant Inc. @participantafterdark
Type: Focal by @commercialtype
–
#jimmyrobert #theresahakkyungcha #bookworks #artbook #wolfehall
distinguish the limit from the edge
Theresa Hak Kyung Cha and Jimmy Robert
@bookworksuk
@jimmyvaleryrobert
–
Exploring the intergenerational dialogue between artists Theresa Hak Kyung Cha and Jimmy Robert. Their encounter takes shape through the meeting of text and image – selected works from Cha’s canon and Robert’s practice converging around a shared formal language: the fold, both in method and metaphor.
Robert treats the page as a sculptural material – shaped by hand, marked by touch. In Cha’s work, the fold surfaces through visual poetry, where language gathers, fractures, and reforms. ‘L’Image Concrete feuille L’Objet Abstrait’ (1976) and ‘Untitled (après tu parti)’ (1976), presented here for the first time.
Two distinct book blocks, one for each artist, are bound from either side of a central backing board, inviting the reader to interweave, overlay, and encounter each practice uniquely.
–
Edited by Jacob Korczynski
Design by @wolfehall.studio
Published by Book Works @bookworksuk in association with Participant Inc. @participantafterdark
Type: Focal by @commercialtype
–
#jimmyrobert #theresahakkyungcha #bookworks #artbook #wolfehall
distinguish the limit from the edge
Theresa Hak Kyung Cha and Jimmy Robert
@bookworksuk
@jimmyvaleryrobert
–
Exploring the intergenerational dialogue between artists Theresa Hak Kyung Cha and Jimmy Robert. Their encounter takes shape through the meeting of text and image – selected works from Cha’s canon and Robert’s practice converging around a shared formal language: the fold, both in method and metaphor.
Robert treats the page as a sculptural material – shaped by hand, marked by touch. In Cha’s work, the fold surfaces through visual poetry, where language gathers, fractures, and reforms. ‘L’Image Concrete feuille L’Objet Abstrait’ (1976) and ‘Untitled (après tu parti)’ (1976), presented here for the first time.
Two distinct book blocks, one for each artist, are bound from either side of a central backing board, inviting the reader to interweave, overlay, and encounter each practice uniquely.
–
Edited by Jacob Korczynski
Design by @wolfehall.studio
Published by Book Works @bookworksuk in association with Participant Inc. @participantafterdark
Type: Focal by @commercialtype
–
#jimmyrobert #theresahakkyungcha #bookworks #artbook #wolfehall
distinguish the limit from the edge
Theresa Hak Kyung Cha and Jimmy Robert
@bookworksuk
@jimmyvaleryrobert
–
Exploring the intergenerational dialogue between artists Theresa Hak Kyung Cha and Jimmy Robert. Their encounter takes shape through the meeting of text and image – selected works from Cha’s canon and Robert’s practice converging around a shared formal language: the fold, both in method and metaphor.
Robert treats the page as a sculptural material – shaped by hand, marked by touch. In Cha’s work, the fold surfaces through visual poetry, where language gathers, fractures, and reforms. ‘L’Image Concrete feuille L’Objet Abstrait’ (1976) and ‘Untitled (après tu parti)’ (1976), presented here for the first time.
Two distinct book blocks, one for each artist, are bound from either side of a central backing board, inviting the reader to interweave, overlay, and encounter each practice uniquely.
–
Edited by Jacob Korczynski
Design by @wolfehall.studio
Published by Book Works @bookworksuk in association with Participant Inc. @participantafterdark
Type: Focal by @commercialtype
–
#jimmyrobert #theresahakkyungcha #bookworks #artbook #wolfehall
distinguish the limit from the edge
Theresa Hak Kyung Cha and Jimmy Robert
@bookworksuk
@jimmyvaleryrobert
–
Exploring the intergenerational dialogue between artists Theresa Hak Kyung Cha and Jimmy Robert. Their encounter takes shape through the meeting of text and image – selected works from Cha’s canon and Robert’s practice converging around a shared formal language: the fold, both in method and metaphor.
Robert treats the page as a sculptural material – shaped by hand, marked by touch. In Cha’s work, the fold surfaces through visual poetry, where language gathers, fractures, and reforms. ‘L’Image Concrete feuille L’Objet Abstrait’ (1976) and ‘Untitled (après tu parti)’ (1976), presented here for the first time.
Two distinct book blocks, one for each artist, are bound from either side of a central backing board, inviting the reader to interweave, overlay, and encounter each practice uniquely.
–
Edited by Jacob Korczynski
Design by @wolfehall.studio
Published by Book Works @bookworksuk in association with Participant Inc. @participantafterdark
Type: Focal by @commercialtype
–
#jimmyrobert #theresahakkyungcha #bookworks #artbook #wolfehall
distinguish the limit from the edge
Theresa Hak Kyung Cha and Jimmy Robert
@bookworksuk
@jimmyvaleryrobert
–
Exploring the intergenerational dialogue between artists Theresa Hak Kyung Cha and Jimmy Robert. Their encounter takes shape through the meeting of text and image – selected works from Cha’s canon and Robert’s practice converging around a shared formal language: the fold, both in method and metaphor.
Robert treats the page as a sculptural material – shaped by hand, marked by touch. In Cha’s work, the fold surfaces through visual poetry, where language gathers, fractures, and reforms. ‘L’Image Concrete feuille L’Objet Abstrait’ (1976) and ‘Untitled (après tu parti)’ (1976), presented here for the first time.
Two distinct book blocks, one for each artist, are bound from either side of a central backing board, inviting the reader to interweave, overlay, and encounter each practice uniquely.
–
Edited by Jacob Korczynski
Design by @wolfehall.studio
Published by Book Works @bookworksuk in association with Participant Inc. @participantafterdark
Type: Focal by @commercialtype
–
#jimmyrobert #theresahakkyungcha #bookworks #artbook #wolfehall
distinguish the limit from the edge
Theresa Hak Kyung Cha and Jimmy Robert
@bookworksuk
@jimmyvaleryrobert
–
Exploring the intergenerational dialogue between artists Theresa Hak Kyung Cha and Jimmy Robert. Their encounter takes shape through the meeting of text and image – selected works from Cha’s canon and Robert’s practice converging around a shared formal language: the fold, both in method and metaphor.
Robert treats the page as a sculptural material – shaped by hand, marked by touch. In Cha’s work, the fold surfaces through visual poetry, where language gathers, fractures, and reforms. ‘L’Image Concrete feuille L’Objet Abstrait’ (1976) and ‘Untitled (après tu parti)’ (1976), presented here for the first time.
Two distinct book blocks, one for each artist, are bound from either side of a central backing board, inviting the reader to interweave, overlay, and encounter each practice uniquely.
–
Edited by Jacob Korczynski
Design by @wolfehall.studio
Published by Book Works @bookworksuk in association with Participant Inc. @participantafterdark
Type: Focal by @commercialtype
–
#jimmyrobert #theresahakkyungcha #bookworks #artbook #wolfehall
Marco Bosco × Alter Disco
Metalmadeira II
@marcobosco @soundwayrecords
–
‘Metalmadeira II’ reimagines percussionist Marco Bosco’s groundbreaking 1983 album, a work that fused Brazilian percussion traditions with the emerging language of electronic music.
This record, created through a collaboration with Alter Disco, a pioneering independent music collective from Curitiba known for their deep connection to Brazil’s underground scene and their innovative approach to reviving forgotten musical treasures, works directly from Bosco’s original recordings to craft bold reinterpretations, weaving vocoders, percussion, and atmospheric synth into the original’s framework.
The artwork of the original record celebrates the meeting of metal and wood, a theme we’ve stuck to with the remixed version. Collaborating with printmaker Alan Cameron, the record imagery is created by piecing together varying-sized slices of inked wood, intersected by several ornately framed text blocks with metallic-silver printed backgrounds.
Text is set in the monospace weight of Mercure, a serif typeface referencing ancient and classical inscriptions engraved in stone or metal.
–
Alter Disco: @barbara_boeing, Phil Mill, De Sena
Artwork: @a_cam_studio
Soundway: @hugotmendez
Type: Mercure by @fonderieabyme
#soundway #soundwayrecords #musicdesign #vinylcommunity #wolfehall
Marco Bosco × Alter Disco
Metalmadeira II
@marcobosco @soundwayrecords
–
‘Metalmadeira II’ reimagines percussionist Marco Bosco’s groundbreaking 1983 album, a work that fused Brazilian percussion traditions with the emerging language of electronic music.
This record, created through a collaboration with Alter Disco, a pioneering independent music collective from Curitiba known for their deep connection to Brazil’s underground scene and their innovative approach to reviving forgotten musical treasures, works directly from Bosco’s original recordings to craft bold reinterpretations, weaving vocoders, percussion, and atmospheric synth into the original’s framework.
The artwork of the original record celebrates the meeting of metal and wood, a theme we’ve stuck to with the remixed version. Collaborating with printmaker Alan Cameron, the record imagery is created by piecing together varying-sized slices of inked wood, intersected by several ornately framed text blocks with metallic-silver printed backgrounds.
Text is set in the monospace weight of Mercure, a serif typeface referencing ancient and classical inscriptions engraved in stone or metal.
–
Alter Disco: @barbara_boeing, Phil Mill, De Sena
Artwork: @a_cam_studio
Soundway: @hugotmendez
Type: Mercure by @fonderieabyme
#soundway #soundwayrecords #musicdesign #vinylcommunity #wolfehall
Marco Bosco × Alter Disco
Metalmadeira II
@marcobosco @soundwayrecords
–
‘Metalmadeira II’ reimagines percussionist Marco Bosco’s groundbreaking 1983 album, a work that fused Brazilian percussion traditions with the emerging language of electronic music.
This record, created through a collaboration with Alter Disco, a pioneering independent music collective from Curitiba known for their deep connection to Brazil’s underground scene and their innovative approach to reviving forgotten musical treasures, works directly from Bosco’s original recordings to craft bold reinterpretations, weaving vocoders, percussion, and atmospheric synth into the original’s framework.
The artwork of the original record celebrates the meeting of metal and wood, a theme we’ve stuck to with the remixed version. Collaborating with printmaker Alan Cameron, the record imagery is created by piecing together varying-sized slices of inked wood, intersected by several ornately framed text blocks with metallic-silver printed backgrounds.
Text is set in the monospace weight of Mercure, a serif typeface referencing ancient and classical inscriptions engraved in stone or metal.
–
Alter Disco: @barbara_boeing, Phil Mill, De Sena
Artwork: @a_cam_studio
Soundway: @hugotmendez
Type: Mercure by @fonderieabyme
#soundway #soundwayrecords #musicdesign #vinylcommunity #wolfehall
Marco Bosco × Alter Disco
Metalmadeira II
@marcobosco @soundwayrecords
–
‘Metalmadeira II’ reimagines percussionist Marco Bosco’s groundbreaking 1983 album, a work that fused Brazilian percussion traditions with the emerging language of electronic music.
This record, created through a collaboration with Alter Disco, a pioneering independent music collective from Curitiba known for their deep connection to Brazil’s underground scene and their innovative approach to reviving forgotten musical treasures, works directly from Bosco’s original recordings to craft bold reinterpretations, weaving vocoders, percussion, and atmospheric synth into the original’s framework.
The artwork of the original record celebrates the meeting of metal and wood, a theme we’ve stuck to with the remixed version. Collaborating with printmaker Alan Cameron, the record imagery is created by piecing together varying-sized slices of inked wood, intersected by several ornately framed text blocks with metallic-silver printed backgrounds.
Text is set in the monospace weight of Mercure, a serif typeface referencing ancient and classical inscriptions engraved in stone or metal.
–
Alter Disco: @barbara_boeing, Phil Mill, De Sena
Artwork: @a_cam_studio
Soundway: @hugotmendez
Type: Mercure by @fonderieabyme
#soundway #soundwayrecords #musicdesign #vinylcommunity #wolfehall
Dirty Looks: Desire and Decay in Fashion
@barbicancentre
25 September 2025 – 25 January 2026
–
‘Dirty Looks’ explores how dirt and decay have been used to defy beauty standards, and why it’s going through a resurgence in young designers’ work. As a counterpoint to glossy digital perfection, these varied practices point us to a new way of thinking about a sustainable fashion future.
A 112 page gallery guide accompanies the show containing floorplans and extended caption information. The book is printed with numerous cover variations, layering dirt over the text to echo the hand-rendered title treatment within the exhibition design. The uncoated white board will get stained and marked as its handled, adding to these layers of grime.
–
Curator: @karen_vangodtsenhoven
Assistant Curator: @jonastbury
Scenography: @studiodennisvanderbroeck
Graphic Design: @wolfehall.studio
Type: Executive by @optimofoundry
Photography: @thomasadank
–
#dirtylooks #barbican #fashion #exhibition #exhibitiondesign #galleryguide #wolfehall
Dirty Looks: Desire and Decay in Fashion
@barbicancentre
25 September 2025 – 25 January 2026
–
‘Dirty Looks’ explores how dirt and decay have been used to defy beauty standards, and why it’s going through a resurgence in young designers’ work. As a counterpoint to glossy digital perfection, these varied practices point us to a new way of thinking about a sustainable fashion future.
A 112 page gallery guide accompanies the show containing floorplans and extended caption information. The book is printed with numerous cover variations, layering dirt over the text to echo the hand-rendered title treatment within the exhibition design. The uncoated white board will get stained and marked as its handled, adding to these layers of grime.
–
Curator: @karen_vangodtsenhoven
Assistant Curator: @jonastbury
Scenography: @studiodennisvanderbroeck
Graphic Design: @wolfehall.studio
Type: Executive by @optimofoundry
Photography: @thomasadank
–
#dirtylooks #barbican #fashion #exhibition #exhibitiondesign #galleryguide #wolfehall
Dirty Looks: Desire and Decay in Fashion
@barbicancentre
25 September 2025 – 25 January 2026
–
‘Dirty Looks’ explores how dirt and decay have been used to defy beauty standards, and why it’s going through a resurgence in young designers’ work. As a counterpoint to glossy digital perfection, these varied practices point us to a new way of thinking about a sustainable fashion future.
A 112 page gallery guide accompanies the show containing floorplans and extended caption information. The book is printed with numerous cover variations, layering dirt over the text to echo the hand-rendered title treatment within the exhibition design. The uncoated white board will get stained and marked as its handled, adding to these layers of grime.
–
Curator: @karen_vangodtsenhoven
Assistant Curator: @jonastbury
Scenography: @studiodennisvanderbroeck
Graphic Design: @wolfehall.studio
Type: Executive by @optimofoundry
Photography: @thomasadank
–
#dirtylooks #barbican #fashion #exhibition #exhibitiondesign #galleryguide #wolfehall
Dirty Looks: Desire and Decay in Fashion
@barbicancentre
25 September 2025 – 25 January 2026
–
‘Dirty Looks’ explores how dirt and decay have been used to defy beauty standards, and why it’s going through a resurgence in young designers’ work. As a counterpoint to glossy digital perfection, these varied practices point us to a new way of thinking about a sustainable fashion future.
A 112 page gallery guide accompanies the show containing floorplans and extended caption information. The book is printed with numerous cover variations, layering dirt over the text to echo the hand-rendered title treatment within the exhibition design. The uncoated white board will get stained and marked as its handled, adding to these layers of grime.
–
Curator: @karen_vangodtsenhoven
Assistant Curator: @jonastbury
Scenography: @studiodennisvanderbroeck
Graphic Design: @wolfehall.studio
Type: Executive by @optimofoundry
Photography: @thomasadank
–
#dirtylooks #barbican #fashion #exhibition #exhibitiondesign #galleryguide #wolfehall
Dirty Looks: Desire and Decay in Fashion
@barbicancentre
25 September 2025 – 25 January 2026
–
‘Dirty Looks’ explores how dirt and decay have been used to defy beauty standards, and why it’s going through a resurgence in young designers’ work. As a counterpoint to glossy digital perfection, these varied practices point us to a new way of thinking about a sustainable fashion future.
A 112 page gallery guide accompanies the show containing floorplans and extended caption information. The book is printed with numerous cover variations, layering dirt over the text to echo the hand-rendered title treatment within the exhibition design. The uncoated white board will get stained and marked as its handled, adding to these layers of grime.
–
Curator: @karen_vangodtsenhoven
Assistant Curator: @jonastbury
Scenography: @studiodennisvanderbroeck
Graphic Design: @wolfehall.studio
Type: Executive by @optimofoundry
Photography: @thomasadank
–
#dirtylooks #barbican #fashion #exhibition #exhibitiondesign #galleryguide #wolfehall
Dirty Looks: Desire and Decay in Fashion
@barbicancentre
25 September 2025 – 25 January 2026
–
‘Dirty Looks’ explores how dirt and decay have been used to defy beauty standards, and why it’s going through a resurgence in young designers’ work. As a counterpoint to glossy digital perfection, these varied practices point us to a new way of thinking about a sustainable fashion future.
A 112 page gallery guide accompanies the show containing floorplans and extended caption information. The book is printed with numerous cover variations, layering dirt over the text to echo the hand-rendered title treatment within the exhibition design. The uncoated white board will get stained and marked as its handled, adding to these layers of grime.
–
Curator: @karen_vangodtsenhoven
Assistant Curator: @jonastbury
Scenography: @studiodennisvanderbroeck
Graphic Design: @wolfehall.studio
Type: Executive by @optimofoundry
Photography: @thomasadank
–
#dirtylooks #barbican #fashion #exhibition #exhibitiondesign #galleryguide #wolfehall
Dirty Looks: Desire and Decay in Fashion
@barbicancentre
25 September 2025 – 25 January 2026
–
‘Dirty Looks’ explores how dirt and decay have been used to defy beauty standards, and why it’s going through a resurgence in young designers’ work. As a counterpoint to glossy digital perfection, these varied practices point us to a new way of thinking about a sustainable fashion future.
A 112 page gallery guide accompanies the show containing floorplans and extended caption information. The book is printed with numerous cover variations, layering dirt over the text to echo the hand-rendered title treatment within the exhibition design. The uncoated white board will get stained and marked as its handled, adding to these layers of grime.
–
Curator: @karen_vangodtsenhoven
Assistant Curator: @jonastbury
Scenography: @studiodennisvanderbroeck
Graphic Design: @wolfehall.studio
Type: Executive by @optimofoundry
Photography: @thomasadank
–
#dirtylooks #barbican #fashion #exhibition #exhibitiondesign #galleryguide #wolfehall
Dirty Looks: Desire and Decay in Fashion
@barbicancentre
25 September 2025 – 25 January 2026
–
‘Dirty Looks’ explores how dirt and decay have been used to defy beauty standards, and why it’s going through a resurgence in young designers’ work. As a counterpoint to glossy digital perfection, these varied practices point us to a new way of thinking about a sustainable fashion future.
A 112 page gallery guide accompanies the show containing floorplans and extended caption information. The book is printed with numerous cover variations, layering dirt over the text to echo the hand-rendered title treatment within the exhibition design. The uncoated white board will get stained and marked as its handled, adding to these layers of grime.
–
Curator: @karen_vangodtsenhoven
Assistant Curator: @jonastbury
Scenography: @studiodennisvanderbroeck
Graphic Design: @wolfehall.studio
Type: Executive by @optimofoundry
Photography: @thomasadank
–
#dirtylooks #barbican #fashion #exhibition #exhibitiondesign #galleryguide #wolfehall
Dirty Looks: Desire and Decay in Fashion
@barbicancentre
25 September 2025 – 25 January 2026
–
‘Dirty Looks’ explores how dirt and decay have been used to defy beauty standards, and why it’s going through a resurgence in young designers’ work. As a counterpoint to glossy digital perfection, these varied practices point us to a new way of thinking about a sustainable fashion future.
A 112 page gallery guide accompanies the show containing floorplans and extended caption information. The book is printed with numerous cover variations, layering dirt over the text to echo the hand-rendered title treatment within the exhibition design. The uncoated white board will get stained and marked as its handled, adding to these layers of grime.
–
Curator: @karen_vangodtsenhoven
Assistant Curator: @jonastbury
Scenography: @studiodennisvanderbroeck
Graphic Design: @wolfehall.studio
Type: Executive by @optimofoundry
Photography: @thomasadank
–
#dirtylooks #barbican #fashion #exhibition #exhibitiondesign #galleryguide #wolfehall
Dirty Looks: Desire and Decay in Fashion
@barbicancentre
25 September 2025 – 25 January 2026
–
‘Dirty Looks’ explores how dirt and decay have been used to defy beauty standards, and why it’s going through a resurgence in young designers’ work. As a counterpoint to glossy digital perfection, these varied practices point us to a new way of thinking about a sustainable fashion future.
A 112 page gallery guide accompanies the show containing floorplans and extended caption information. The book is printed with numerous cover variations, layering dirt over the text to echo the hand-rendered title treatment within the exhibition design. The uncoated white board will get stained and marked as its handled, adding to these layers of grime.
–
Curator: @karen_vangodtsenhoven
Assistant Curator: @jonastbury
Scenography: @studiodennisvanderbroeck
Graphic Design: @wolfehall.studio
Type: Executive by @optimofoundry
Photography: @thomasadank
–
#dirtylooks #barbican #fashion #exhibition #exhibitiondesign #galleryguide #wolfehall
Planetary Realism: Art Against Apocalypse
@bad_honey_monster
@sternbergpress_official
–
Josephine Berry’s latest title explores the devastation left in the wake of modernity and how globalisation is revealing a fragile and unfamiliar planet. Surveying a body of planet-facing art, communal practices and activism, this book investigates art’s power to break with capitalist realism and petroleum landscapes, finding new ways to reimagine life on Earth.
The typographic language of the book references both vintage petrol advertising and the language of protest by styling monumental, heavy-weight, condensed lettering for chapter title pages and headers.
The main text is set to feel like a road. Each justified paragraph weaves from left to right, meandering across the page, disrupted by contextual imagery, bold footnote numbering, and a bright pink thread ties the sections together.
The cover design takes an untitled collage by Paul Nash for a 1960s Shell motor guide of Dorset, but introducing a lurid, vibrant colour scheme inspired by oil spills, overlayed with semi-transparent text to reveal the course halftone screen below.
–
Editor: Leah Whitman-Salkin
Design: @wolfehall.studio
Type: KMR Waldenburg by @kimeracorp
–
#artbook #bookdesign #sternbergpress #wolfehall
Planetary Realism: Art Against Apocalypse
@bad_honey_monster
@sternbergpress_official
–
Josephine Berry’s latest title explores the devastation left in the wake of modernity and how globalisation is revealing a fragile and unfamiliar planet. Surveying a body of planet-facing art, communal practices and activism, this book investigates art’s power to break with capitalist realism and petroleum landscapes, finding new ways to reimagine life on Earth.
The typographic language of the book references both vintage petrol advertising and the language of protest by styling monumental, heavy-weight, condensed lettering for chapter title pages and headers.
The main text is set to feel like a road. Each justified paragraph weaves from left to right, meandering across the page, disrupted by contextual imagery, bold footnote numbering, and a bright pink thread ties the sections together.
The cover design takes an untitled collage by Paul Nash for a 1960s Shell motor guide of Dorset, but introducing a lurid, vibrant colour scheme inspired by oil spills, overlayed with semi-transparent text to reveal the course halftone screen below.
–
Editor: Leah Whitman-Salkin
Design: @wolfehall.studio
Type: KMR Waldenburg by @kimeracorp
–
#artbook #bookdesign #sternbergpress #wolfehall
Planetary Realism: Art Against Apocalypse
@bad_honey_monster
@sternbergpress_official
–
Josephine Berry’s latest title explores the devastation left in the wake of modernity and how globalisation is revealing a fragile and unfamiliar planet. Surveying a body of planet-facing art, communal practices and activism, this book investigates art’s power to break with capitalist realism and petroleum landscapes, finding new ways to reimagine life on Earth.
The typographic language of the book references both vintage petrol advertising and the language of protest by styling monumental, heavy-weight, condensed lettering for chapter title pages and headers.
The main text is set to feel like a road. Each justified paragraph weaves from left to right, meandering across the page, disrupted by contextual imagery, bold footnote numbering, and a bright pink thread ties the sections together.
The cover design takes an untitled collage by Paul Nash for a 1960s Shell motor guide of Dorset, but introducing a lurid, vibrant colour scheme inspired by oil spills, overlayed with semi-transparent text to reveal the course halftone screen below.
–
Editor: Leah Whitman-Salkin
Design: @wolfehall.studio
Type: KMR Waldenburg by @kimeracorp
–
#artbook #bookdesign #sternbergpress #wolfehall
Planetary Realism: Art Against Apocalypse
@bad_honey_monster
@sternbergpress_official
–
Josephine Berry’s latest title explores the devastation left in the wake of modernity and how globalisation is revealing a fragile and unfamiliar planet. Surveying a body of planet-facing art, communal practices and activism, this book investigates art’s power to break with capitalist realism and petroleum landscapes, finding new ways to reimagine life on Earth.
The typographic language of the book references both vintage petrol advertising and the language of protest by styling monumental, heavy-weight, condensed lettering for chapter title pages and headers.
The main text is set to feel like a road. Each justified paragraph weaves from left to right, meandering across the page, disrupted by contextual imagery, bold footnote numbering, and a bright pink thread ties the sections together.
The cover design takes an untitled collage by Paul Nash for a 1960s Shell motor guide of Dorset, but introducing a lurid, vibrant colour scheme inspired by oil spills, overlayed with semi-transparent text to reveal the course halftone screen below.
–
Editor: Leah Whitman-Salkin
Design: @wolfehall.studio
Type: KMR Waldenburg by @kimeracorp
–
#artbook #bookdesign #sternbergpress #wolfehall
Planetary Realism: Art Against Apocalypse
@bad_honey_monster
@sternbergpress_official
–
Josephine Berry’s latest title explores the devastation left in the wake of modernity and how globalisation is revealing a fragile and unfamiliar planet. Surveying a body of planet-facing art, communal practices and activism, this book investigates art’s power to break with capitalist realism and petroleum landscapes, finding new ways to reimagine life on Earth.
The typographic language of the book references both vintage petrol advertising and the language of protest by styling monumental, heavy-weight, condensed lettering for chapter title pages and headers.
The main text is set to feel like a road. Each justified paragraph weaves from left to right, meandering across the page, disrupted by contextual imagery, bold footnote numbering, and a bright pink thread ties the sections together.
The cover design takes an untitled collage by Paul Nash for a 1960s Shell motor guide of Dorset, but introducing a lurid, vibrant colour scheme inspired by oil spills, overlayed with semi-transparent text to reveal the course halftone screen below.
–
Editor: Leah Whitman-Salkin
Design: @wolfehall.studio
Type: KMR Waldenburg by @kimeracorp
–
#artbook #bookdesign #sternbergpress #wolfehall
Planetary Realism: Art Against Apocalypse
@bad_honey_monster
@sternbergpress_official
–
Josephine Berry’s latest title explores the devastation left in the wake of modernity and how globalisation is revealing a fragile and unfamiliar planet. Surveying a body of planet-facing art, communal practices and activism, this book investigates art’s power to break with capitalist realism and petroleum landscapes, finding new ways to reimagine life on Earth.
The typographic language of the book references both vintage petrol advertising and the language of protest by styling monumental, heavy-weight, condensed lettering for chapter title pages and headers.
The main text is set to feel like a road. Each justified paragraph weaves from left to right, meandering across the page, disrupted by contextual imagery, bold footnote numbering, and a bright pink thread ties the sections together.
The cover design takes an untitled collage by Paul Nash for a 1960s Shell motor guide of Dorset, but introducing a lurid, vibrant colour scheme inspired by oil spills, overlayed with semi-transparent text to reveal the course halftone screen below.
–
Editor: Leah Whitman-Salkin
Design: @wolfehall.studio
Type: KMR Waldenburg by @kimeracorp
–
#artbook #bookdesign #sternbergpress #wolfehall
Planetary Realism: Art Against Apocalypse
@bad_honey_monster
@sternbergpress_official
–
Josephine Berry’s latest title explores the devastation left in the wake of modernity and how globalisation is revealing a fragile and unfamiliar planet. Surveying a body of planet-facing art, communal practices and activism, this book investigates art’s power to break with capitalist realism and petroleum landscapes, finding new ways to reimagine life on Earth.
The typographic language of the book references both vintage petrol advertising and the language of protest by styling monumental, heavy-weight, condensed lettering for chapter title pages and headers.
The main text is set to feel like a road. Each justified paragraph weaves from left to right, meandering across the page, disrupted by contextual imagery, bold footnote numbering, and a bright pink thread ties the sections together.
The cover design takes an untitled collage by Paul Nash for a 1960s Shell motor guide of Dorset, but introducing a lurid, vibrant colour scheme inspired by oil spills, overlayed with semi-transparent text to reveal the course halftone screen below.
–
Editor: Leah Whitman-Salkin
Design: @wolfehall.studio
Type: KMR Waldenburg by @kimeracorp
–
#artbook #bookdesign #sternbergpress #wolfehall
Planetary Realism: Art Against Apocalypse
@bad_honey_monster
@sternbergpress_official
–
Josephine Berry’s latest title explores the devastation left in the wake of modernity and how globalisation is revealing a fragile and unfamiliar planet. Surveying a body of planet-facing art, communal practices and activism, this book investigates art’s power to break with capitalist realism and petroleum landscapes, finding new ways to reimagine life on Earth.
The typographic language of the book references both vintage petrol advertising and the language of protest by styling monumental, heavy-weight, condensed lettering for chapter title pages and headers.
The main text is set to feel like a road. Each justified paragraph weaves from left to right, meandering across the page, disrupted by contextual imagery, bold footnote numbering, and a bright pink thread ties the sections together.
The cover design takes an untitled collage by Paul Nash for a 1960s Shell motor guide of Dorset, but introducing a lurid, vibrant colour scheme inspired by oil spills, overlayed with semi-transparent text to reveal the course halftone screen below.
–
Editor: Leah Whitman-Salkin
Design: @wolfehall.studio
Type: KMR Waldenburg by @kimeracorp
–
#artbook #bookdesign #sternbergpress #wolfehall
Planetary Realism: Art Against Apocalypse
@bad_honey_monster
@sternbergpress_official
–
Josephine Berry’s latest title explores the devastation left in the wake of modernity and how globalisation is revealing a fragile and unfamiliar planet. Surveying a body of planet-facing art, communal practices and activism, this book investigates art’s power to break with capitalist realism and petroleum landscapes, finding new ways to reimagine life on Earth.
The typographic language of the book references both vintage petrol advertising and the language of protest by styling monumental, heavy-weight, condensed lettering for chapter title pages and headers.
The main text is set to feel like a road. Each justified paragraph weaves from left to right, meandering across the page, disrupted by contextual imagery, bold footnote numbering, and a bright pink thread ties the sections together.
The cover design takes an untitled collage by Paul Nash for a 1960s Shell motor guide of Dorset, but introducing a lurid, vibrant colour scheme inspired by oil spills, overlayed with semi-transparent text to reveal the course halftone screen below.
–
Editor: Leah Whitman-Salkin
Design: @wolfehall.studio
Type: KMR Waldenburg by @kimeracorp
–
#artbook #bookdesign #sternbergpress #wolfehall
Planetary Realism: Art Against Apocalypse
@bad_honey_monster
@sternbergpress_official
–
Josephine Berry’s latest title explores the devastation left in the wake of modernity and how globalisation is revealing a fragile and unfamiliar planet. Surveying a body of planet-facing art, communal practices and activism, this book investigates art’s power to break with capitalist realism and petroleum landscapes, finding new ways to reimagine life on Earth.
The typographic language of the book references both vintage petrol advertising and the language of protest by styling monumental, heavy-weight, condensed lettering for chapter title pages and headers.
The main text is set to feel like a road. Each justified paragraph weaves from left to right, meandering across the page, disrupted by contextual imagery, bold footnote numbering, and a bright pink thread ties the sections together.
The cover design takes an untitled collage by Paul Nash for a 1960s Shell motor guide of Dorset, but introducing a lurid, vibrant colour scheme inspired by oil spills, overlayed with semi-transparent text to reveal the course halftone screen below.
–
Editor: Leah Whitman-Salkin
Design: @wolfehall.studio
Type: KMR Waldenburg by @kimeracorp
–
#artbook #bookdesign #sternbergpress #wolfehall
Dirty Looks: Desire and Decay in Fashion
@barbicancentre
25 September 2025 – 25 January 2026
–
'Dirty Looks' explores how dirt and decay have been used to defy beauty standards, and why it's going through a resurgence in young designers' work. As a counterpoint to glossy digital perfection, these varied practices point us to a new way of thinking about a sustainable fashion future.
The scenography of the show depicts a slowly decaying exhibition hall, where the plaster of the gallery cracks, splits, and falls apart, revealing the Barbican's exterior tile-work, that in turn breaks and peels away from the walls. The lower galleries are hung with raw canvas, separating the emerging designer installations from the iconic, historic pieces upstairs. A rail system runs between each of the bays, holding the garments and number 'tags'.
Large-scale graphic titles also show signs of distress with splattered and scuffed lettering forming a contrast to the clean aluminium-edges of the introduction panel and the enlarged captioning placed along the base of the plinths.
Section panels are printed onto a recycled, laid packaging paper with a slight coated sheen, overlayed onto a raw-looking honeycomb board to give depth.
Exaggerated numbering – referencing early catwalk coding – is printed on board made from paper-pulp and recycled wool, positioned at the feet of the mannequins or on the railing above.
–
Curator: @karen_vangodtsenhoven
Assistant Curator: @jonastbury
Scenography: @studiodennisvanderbroeck
Graphic Design: @wolfehall.studio
Type: Executive by @optimofoundry
Photography: @thomasadank
–
#dirtylooks #barbican #fashion #exhibition #exhibitiondesign #galleryguide #wolfehall
Dirty Looks: Desire and Decay in Fashion
@barbicancentre
25 September 2025 – 25 January 2026
–
'Dirty Looks' explores how dirt and decay have been used to defy beauty standards, and why it's going through a resurgence in young designers' work. As a counterpoint to glossy digital perfection, these varied practices point us to a new way of thinking about a sustainable fashion future.
The scenography of the show depicts a slowly decaying exhibition hall, where the plaster of the gallery cracks, splits, and falls apart, revealing the Barbican's exterior tile-work, that in turn breaks and peels away from the walls. The lower galleries are hung with raw canvas, separating the emerging designer installations from the iconic, historic pieces upstairs. A rail system runs between each of the bays, holding the garments and number 'tags'.
Large-scale graphic titles also show signs of distress with splattered and scuffed lettering forming a contrast to the clean aluminium-edges of the introduction panel and the enlarged captioning placed along the base of the plinths.
Section panels are printed onto a recycled, laid packaging paper with a slight coated sheen, overlayed onto a raw-looking honeycomb board to give depth.
Exaggerated numbering – referencing early catwalk coding – is printed on board made from paper-pulp and recycled wool, positioned at the feet of the mannequins or on the railing above.
–
Curator: @karen_vangodtsenhoven
Assistant Curator: @jonastbury
Scenography: @studiodennisvanderbroeck
Graphic Design: @wolfehall.studio
Type: Executive by @optimofoundry
Photography: @thomasadank
–
#dirtylooks #barbican #fashion #exhibition #exhibitiondesign #galleryguide #wolfehall
Dirty Looks: Desire and Decay in Fashion
@barbicancentre
25 September 2025 – 25 January 2026
–
'Dirty Looks' explores how dirt and decay have been used to defy beauty standards, and why it's going through a resurgence in young designers' work. As a counterpoint to glossy digital perfection, these varied practices point us to a new way of thinking about a sustainable fashion future.
The scenography of the show depicts a slowly decaying exhibition hall, where the plaster of the gallery cracks, splits, and falls apart, revealing the Barbican's exterior tile-work, that in turn breaks and peels away from the walls. The lower galleries are hung with raw canvas, separating the emerging designer installations from the iconic, historic pieces upstairs. A rail system runs between each of the bays, holding the garments and number 'tags'.
Large-scale graphic titles also show signs of distress with splattered and scuffed lettering forming a contrast to the clean aluminium-edges of the introduction panel and the enlarged captioning placed along the base of the plinths.
Section panels are printed onto a recycled, laid packaging paper with a slight coated sheen, overlayed onto a raw-looking honeycomb board to give depth.
Exaggerated numbering – referencing early catwalk coding – is printed on board made from paper-pulp and recycled wool, positioned at the feet of the mannequins or on the railing above.
–
Curator: @karen_vangodtsenhoven
Assistant Curator: @jonastbury
Scenography: @studiodennisvanderbroeck
Graphic Design: @wolfehall.studio
Type: Executive by @optimofoundry
Photography: @thomasadank
–
#dirtylooks #barbican #fashion #exhibition #exhibitiondesign #galleryguide #wolfehall
Dirty Looks: Desire and Decay in Fashion
@barbicancentre
25 September 2025 – 25 January 2026
–
'Dirty Looks' explores how dirt and decay have been used to defy beauty standards, and why it's going through a resurgence in young designers' work. As a counterpoint to glossy digital perfection, these varied practices point us to a new way of thinking about a sustainable fashion future.
The scenography of the show depicts a slowly decaying exhibition hall, where the plaster of the gallery cracks, splits, and falls apart, revealing the Barbican's exterior tile-work, that in turn breaks and peels away from the walls. The lower galleries are hung with raw canvas, separating the emerging designer installations from the iconic, historic pieces upstairs. A rail system runs between each of the bays, holding the garments and number 'tags'.
Large-scale graphic titles also show signs of distress with splattered and scuffed lettering forming a contrast to the clean aluminium-edges of the introduction panel and the enlarged captioning placed along the base of the plinths.
Section panels are printed onto a recycled, laid packaging paper with a slight coated sheen, overlayed onto a raw-looking honeycomb board to give depth.
Exaggerated numbering – referencing early catwalk coding – is printed on board made from paper-pulp and recycled wool, positioned at the feet of the mannequins or on the railing above.
–
Curator: @karen_vangodtsenhoven
Assistant Curator: @jonastbury
Scenography: @studiodennisvanderbroeck
Graphic Design: @wolfehall.studio
Type: Executive by @optimofoundry
Photography: @thomasadank
–
#dirtylooks #barbican #fashion #exhibition #exhibitiondesign #galleryguide #wolfehall
Dirty Looks: Desire and Decay in Fashion
@barbicancentre
25 September 2025 – 25 January 2026
–
'Dirty Looks' explores how dirt and decay have been used to defy beauty standards, and why it's going through a resurgence in young designers' work. As a counterpoint to glossy digital perfection, these varied practices point us to a new way of thinking about a sustainable fashion future.
The scenography of the show depicts a slowly decaying exhibition hall, where the plaster of the gallery cracks, splits, and falls apart, revealing the Barbican's exterior tile-work, that in turn breaks and peels away from the walls. The lower galleries are hung with raw canvas, separating the emerging designer installations from the iconic, historic pieces upstairs. A rail system runs between each of the bays, holding the garments and number 'tags'.
Large-scale graphic titles also show signs of distress with splattered and scuffed lettering forming a contrast to the clean aluminium-edges of the introduction panel and the enlarged captioning placed along the base of the plinths.
Section panels are printed onto a recycled, laid packaging paper with a slight coated sheen, overlayed onto a raw-looking honeycomb board to give depth.
Exaggerated numbering – referencing early catwalk coding – is printed on board made from paper-pulp and recycled wool, positioned at the feet of the mannequins or on the railing above.
–
Curator: @karen_vangodtsenhoven
Assistant Curator: @jonastbury
Scenography: @studiodennisvanderbroeck
Graphic Design: @wolfehall.studio
Type: Executive by @optimofoundry
Photography: @thomasadank
–
#dirtylooks #barbican #fashion #exhibition #exhibitiondesign #galleryguide #wolfehall
Dirty Looks: Desire and Decay in Fashion
@barbicancentre
25 September 2025 – 25 January 2026
–
'Dirty Looks' explores how dirt and decay have been used to defy beauty standards, and why it's going through a resurgence in young designers' work. As a counterpoint to glossy digital perfection, these varied practices point us to a new way of thinking about a sustainable fashion future.
The scenography of the show depicts a slowly decaying exhibition hall, where the plaster of the gallery cracks, splits, and falls apart, revealing the Barbican's exterior tile-work, that in turn breaks and peels away from the walls. The lower galleries are hung with raw canvas, separating the emerging designer installations from the iconic, historic pieces upstairs. A rail system runs between each of the bays, holding the garments and number 'tags'.
Large-scale graphic titles also show signs of distress with splattered and scuffed lettering forming a contrast to the clean aluminium-edges of the introduction panel and the enlarged captioning placed along the base of the plinths.
Section panels are printed onto a recycled, laid packaging paper with a slight coated sheen, overlayed onto a raw-looking honeycomb board to give depth.
Exaggerated numbering – referencing early catwalk coding – is printed on board made from paper-pulp and recycled wool, positioned at the feet of the mannequins or on the railing above.
–
Curator: @karen_vangodtsenhoven
Assistant Curator: @jonastbury
Scenography: @studiodennisvanderbroeck
Graphic Design: @wolfehall.studio
Type: Executive by @optimofoundry
Photography: @thomasadank
–
#dirtylooks #barbican #fashion #exhibition #exhibitiondesign #galleryguide #wolfehall
Dirty Looks: Desire and Decay in Fashion
@barbicancentre
25 September 2025 – 25 January 2026
–
'Dirty Looks' explores how dirt and decay have been used to defy beauty standards, and why it's going through a resurgence in young designers' work. As a counterpoint to glossy digital perfection, these varied practices point us to a new way of thinking about a sustainable fashion future.
The scenography of the show depicts a slowly decaying exhibition hall, where the plaster of the gallery cracks, splits, and falls apart, revealing the Barbican's exterior tile-work, that in turn breaks and peels away from the walls. The lower galleries are hung with raw canvas, separating the emerging designer installations from the iconic, historic pieces upstairs. A rail system runs between each of the bays, holding the garments and number 'tags'.
Large-scale graphic titles also show signs of distress with splattered and scuffed lettering forming a contrast to the clean aluminium-edges of the introduction panel and the enlarged captioning placed along the base of the plinths.
Section panels are printed onto a recycled, laid packaging paper with a slight coated sheen, overlayed onto a raw-looking honeycomb board to give depth.
Exaggerated numbering – referencing early catwalk coding – is printed on board made from paper-pulp and recycled wool, positioned at the feet of the mannequins or on the railing above.
–
Curator: @karen_vangodtsenhoven
Assistant Curator: @jonastbury
Scenography: @studiodennisvanderbroeck
Graphic Design: @wolfehall.studio
Type: Executive by @optimofoundry
Photography: @thomasadank
–
#dirtylooks #barbican #fashion #exhibition #exhibitiondesign #galleryguide #wolfehall
Dirty Looks: Desire and Decay in Fashion
@barbicancentre
25 September 2025 – 25 January 2026
–
'Dirty Looks' explores how dirt and decay have been used to defy beauty standards, and why it's going through a resurgence in young designers' work. As a counterpoint to glossy digital perfection, these varied practices point us to a new way of thinking about a sustainable fashion future.
The scenography of the show depicts a slowly decaying exhibition hall, where the plaster of the gallery cracks, splits, and falls apart, revealing the Barbican's exterior tile-work, that in turn breaks and peels away from the walls. The lower galleries are hung with raw canvas, separating the emerging designer installations from the iconic, historic pieces upstairs. A rail system runs between each of the bays, holding the garments and number 'tags'.
Large-scale graphic titles also show signs of distress with splattered and scuffed lettering forming a contrast to the clean aluminium-edges of the introduction panel and the enlarged captioning placed along the base of the plinths.
Section panels are printed onto a recycled, laid packaging paper with a slight coated sheen, overlayed onto a raw-looking honeycomb board to give depth.
Exaggerated numbering – referencing early catwalk coding – is printed on board made from paper-pulp and recycled wool, positioned at the feet of the mannequins or on the railing above.
–
Curator: @karen_vangodtsenhoven
Assistant Curator: @jonastbury
Scenography: @studiodennisvanderbroeck
Graphic Design: @wolfehall.studio
Type: Executive by @optimofoundry
Photography: @thomasadank
–
#dirtylooks #barbican #fashion #exhibition #exhibitiondesign #galleryguide #wolfehall
Dirty Looks: Desire and Decay in Fashion
@barbicancentre
25 September 2025 – 25 January 2026
–
'Dirty Looks' explores how dirt and decay have been used to defy beauty standards, and why it's going through a resurgence in young designers' work. As a counterpoint to glossy digital perfection, these varied practices point us to a new way of thinking about a sustainable fashion future.
The scenography of the show depicts a slowly decaying exhibition hall, where the plaster of the gallery cracks, splits, and falls apart, revealing the Barbican's exterior tile-work, that in turn breaks and peels away from the walls. The lower galleries are hung with raw canvas, separating the emerging designer installations from the iconic, historic pieces upstairs. A rail system runs between each of the bays, holding the garments and number 'tags'.
Large-scale graphic titles also show signs of distress with splattered and scuffed lettering forming a contrast to the clean aluminium-edges of the introduction panel and the enlarged captioning placed along the base of the plinths.
Section panels are printed onto a recycled, laid packaging paper with a slight coated sheen, overlayed onto a raw-looking honeycomb board to give depth.
Exaggerated numbering – referencing early catwalk coding – is printed on board made from paper-pulp and recycled wool, positioned at the feet of the mannequins or on the railing above.
–
Curator: @karen_vangodtsenhoven
Assistant Curator: @jonastbury
Scenography: @studiodennisvanderbroeck
Graphic Design: @wolfehall.studio
Type: Executive by @optimofoundry
Photography: @thomasadank
–
#dirtylooks #barbican #fashion #exhibition #exhibitiondesign #galleryguide #wolfehall
Dirty Looks: Desire and Decay in Fashion
@barbicancentre
25 September 2025 – 25 January 2026
–
'Dirty Looks' explores how dirt and decay have been used to defy beauty standards, and why it's going through a resurgence in young designers' work. As a counterpoint to glossy digital perfection, these varied practices point us to a new way of thinking about a sustainable fashion future.
The scenography of the show depicts a slowly decaying exhibition hall, where the plaster of the gallery cracks, splits, and falls apart, revealing the Barbican's exterior tile-work, that in turn breaks and peels away from the walls. The lower galleries are hung with raw canvas, separating the emerging designer installations from the iconic, historic pieces upstairs. A rail system runs between each of the bays, holding the garments and number 'tags'.
Large-scale graphic titles also show signs of distress with splattered and scuffed lettering forming a contrast to the clean aluminium-edges of the introduction panel and the enlarged captioning placed along the base of the plinths.
Section panels are printed onto a recycled, laid packaging paper with a slight coated sheen, overlayed onto a raw-looking honeycomb board to give depth.
Exaggerated numbering – referencing early catwalk coding – is printed on board made from paper-pulp and recycled wool, positioned at the feet of the mannequins or on the railing above.
–
Curator: @karen_vangodtsenhoven
Assistant Curator: @jonastbury
Scenography: @studiodennisvanderbroeck
Graphic Design: @wolfehall.studio
Type: Executive by @optimofoundry
Photography: @thomasadank
–
#dirtylooks #barbican #fashion #exhibition #exhibitiondesign #galleryguide #wolfehall
Steve Harrison
Forty
@stuartshavemodernart
–
A publication to celebrate ceramicist @steve_harrison_pots four decades of work. Showcasing a selection of 'Loft Pots', works that the artist stored in his attic after being fired, kept close due to their deeply felt significance. The book represents the most significant presentation of his archive to date – many of these objects having never been seen before – reflecting the depth and range of his technique, as well as the evolution of his craft.
The texture of the cover references Harrison's use of salt glaze, a technique where salt is thrown into a hot kiln, causing it to vaporize and chemically react, leaving a slightly translucent and dappled finish. This has been lightly impressed with white foil text and blind debossed a sine-wave form on the front and back covers. This shape was also used as the plinth furniture to showcase the works in the exhibition, signifying the ongoing nature of his practice.
The book is set in Eterne Text, a typeface that takes cues from William Dwiggins' 'marionette' technique, where he carved the lettering visually, referencing historic methods but reinterpreting them organically.
Each element of the book is printed on a different paper stock to create an ongoing tactility as your leaf through the pages. A plate section of works ordered chronologically from new to old, is printed on a clean white uncoated stock, followed by an extensive biographical text written by the artist's son that shifts the tone to a warm, rough textured material. An archive section of thumbnail imagery and work information ends the publication, printed in dark grey on a lighter grey paper.
Endpapers tonally shift the cover material from blue to green, and feature an envelope on the inside back cover with a loose black and white photograph of the works in situ.
–
Editors: Kirk McInroy, Rob Spragg
Text: Benedict Harrison
Concept and Design: Wolfe Hall
Copy Editor: Cathy Johns
Typeset in Eterne Text by @sharp_type @kiatas
With thanks to Kia for additional language support
#steveharrison #modernart #ceramics #artbook #bookdesign #wolfehall
Steve Harrison
Forty
@stuartshavemodernart
–
A publication to celebrate ceramicist @steve_harrison_pots four decades of work. Showcasing a selection of 'Loft Pots', works that the artist stored in his attic after being fired, kept close due to their deeply felt significance. The book represents the most significant presentation of his archive to date – many of these objects having never been seen before – reflecting the depth and range of his technique, as well as the evolution of his craft.
The texture of the cover references Harrison's use of salt glaze, a technique where salt is thrown into a hot kiln, causing it to vaporize and chemically react, leaving a slightly translucent and dappled finish. This has been lightly impressed with white foil text and blind debossed a sine-wave form on the front and back covers. This shape was also used as the plinth furniture to showcase the works in the exhibition, signifying the ongoing nature of his practice.
The book is set in Eterne Text, a typeface that takes cues from William Dwiggins' 'marionette' technique, where he carved the lettering visually, referencing historic methods but reinterpreting them organically.
Each element of the book is printed on a different paper stock to create an ongoing tactility as your leaf through the pages. A plate section of works ordered chronologically from new to old, is printed on a clean white uncoated stock, followed by an extensive biographical text written by the artist's son that shifts the tone to a warm, rough textured material. An archive section of thumbnail imagery and work information ends the publication, printed in dark grey on a lighter grey paper.
Endpapers tonally shift the cover material from blue to green, and feature an envelope on the inside back cover with a loose black and white photograph of the works in situ.
–
Editors: Kirk McInroy, Rob Spragg
Text: Benedict Harrison
Concept and Design: Wolfe Hall
Copy Editor: Cathy Johns
Typeset in Eterne Text by @sharp_type @kiatas
With thanks to Kia for additional language support
#steveharrison #modernart #ceramics #artbook #bookdesign #wolfehall
Steve Harrison
Forty
@stuartshavemodernart
–
A publication to celebrate ceramicist @steve_harrison_pots four decades of work. Showcasing a selection of 'Loft Pots', works that the artist stored in his attic after being fired, kept close due to their deeply felt significance. The book represents the most significant presentation of his archive to date – many of these objects having never been seen before – reflecting the depth and range of his technique, as well as the evolution of his craft.
The texture of the cover references Harrison's use of salt glaze, a technique where salt is thrown into a hot kiln, causing it to vaporize and chemically react, leaving a slightly translucent and dappled finish. This has been lightly impressed with white foil text and blind debossed a sine-wave form on the front and back covers. This shape was also used as the plinth furniture to showcase the works in the exhibition, signifying the ongoing nature of his practice.
The book is set in Eterne Text, a typeface that takes cues from William Dwiggins' 'marionette' technique, where he carved the lettering visually, referencing historic methods but reinterpreting them organically.
Each element of the book is printed on a different paper stock to create an ongoing tactility as your leaf through the pages. A plate section of works ordered chronologically from new to old, is printed on a clean white uncoated stock, followed by an extensive biographical text written by the artist's son that shifts the tone to a warm, rough textured material. An archive section of thumbnail imagery and work information ends the publication, printed in dark grey on a lighter grey paper.
Endpapers tonally shift the cover material from blue to green, and feature an envelope on the inside back cover with a loose black and white photograph of the works in situ.
–
Editors: Kirk McInroy, Rob Spragg
Text: Benedict Harrison
Concept and Design: Wolfe Hall
Copy Editor: Cathy Johns
Typeset in Eterne Text by @sharp_type @kiatas
With thanks to Kia for additional language support
#steveharrison #modernart #ceramics #artbook #bookdesign #wolfehall
Steve Harrison
Forty
@stuartshavemodernart
–
A publication to celebrate ceramicist @steve_harrison_pots four decades of work. Showcasing a selection of 'Loft Pots', works that the artist stored in his attic after being fired, kept close due to their deeply felt significance. The book represents the most significant presentation of his archive to date – many of these objects having never been seen before – reflecting the depth and range of his technique, as well as the evolution of his craft.
The texture of the cover references Harrison's use of salt glaze, a technique where salt is thrown into a hot kiln, causing it to vaporize and chemically react, leaving a slightly translucent and dappled finish. This has been lightly impressed with white foil text and blind debossed a sine-wave form on the front and back covers. This shape was also used as the plinth furniture to showcase the works in the exhibition, signifying the ongoing nature of his practice.
The book is set in Eterne Text, a typeface that takes cues from William Dwiggins' 'marionette' technique, where he carved the lettering visually, referencing historic methods but reinterpreting them organically.
Each element of the book is printed on a different paper stock to create an ongoing tactility as your leaf through the pages. A plate section of works ordered chronologically from new to old, is printed on a clean white uncoated stock, followed by an extensive biographical text written by the artist's son that shifts the tone to a warm, rough textured material. An archive section of thumbnail imagery and work information ends the publication, printed in dark grey on a lighter grey paper.
Endpapers tonally shift the cover material from blue to green, and feature an envelope on the inside back cover with a loose black and white photograph of the works in situ.
–
Editors: Kirk McInroy, Rob Spragg
Text: Benedict Harrison
Concept and Design: Wolfe Hall
Copy Editor: Cathy Johns
Typeset in Eterne Text by @sharp_type @kiatas
With thanks to Kia for additional language support
#steveharrison #modernart #ceramics #artbook #bookdesign #wolfehall
Steve Harrison
Forty
@stuartshavemodernart
–
A publication to celebrate ceramicist @steve_harrison_pots four decades of work. Showcasing a selection of 'Loft Pots', works that the artist stored in his attic after being fired, kept close due to their deeply felt significance. The book represents the most significant presentation of his archive to date – many of these objects having never been seen before – reflecting the depth and range of his technique, as well as the evolution of his craft.
The texture of the cover references Harrison's use of salt glaze, a technique where salt is thrown into a hot kiln, causing it to vaporize and chemically react, leaving a slightly translucent and dappled finish. This has been lightly impressed with white foil text and blind debossed a sine-wave form on the front and back covers. This shape was also used as the plinth furniture to showcase the works in the exhibition, signifying the ongoing nature of his practice.
The book is set in Eterne Text, a typeface that takes cues from William Dwiggins' 'marionette' technique, where he carved the lettering visually, referencing historic methods but reinterpreting them organically.
Each element of the book is printed on a different paper stock to create an ongoing tactility as your leaf through the pages. A plate section of works ordered chronologically from new to old, is printed on a clean white uncoated stock, followed by an extensive biographical text written by the artist's son that shifts the tone to a warm, rough textured material. An archive section of thumbnail imagery and work information ends the publication, printed in dark grey on a lighter grey paper.
Endpapers tonally shift the cover material from blue to green, and feature an envelope on the inside back cover with a loose black and white photograph of the works in situ.
–
Editors: Kirk McInroy, Rob Spragg
Text: Benedict Harrison
Concept and Design: Wolfe Hall
Copy Editor: Cathy Johns
Typeset in Eterne Text by @sharp_type @kiatas
With thanks to Kia for additional language support
#steveharrison #modernart #ceramics #artbook #bookdesign #wolfehall
Steve Harrison
Forty
@stuartshavemodernart
–
A publication to celebrate ceramicist @steve_harrison_pots four decades of work. Showcasing a selection of 'Loft Pots', works that the artist stored in his attic after being fired, kept close due to their deeply felt significance. The book represents the most significant presentation of his archive to date – many of these objects having never been seen before – reflecting the depth and range of his technique, as well as the evolution of his craft.
The texture of the cover references Harrison's use of salt glaze, a technique where salt is thrown into a hot kiln, causing it to vaporize and chemically react, leaving a slightly translucent and dappled finish. This has been lightly impressed with white foil text and blind debossed a sine-wave form on the front and back covers. This shape was also used as the plinth furniture to showcase the works in the exhibition, signifying the ongoing nature of his practice.
The book is set in Eterne Text, a typeface that takes cues from William Dwiggins' 'marionette' technique, where he carved the lettering visually, referencing historic methods but reinterpreting them organically.
Each element of the book is printed on a different paper stock to create an ongoing tactility as your leaf through the pages. A plate section of works ordered chronologically from new to old, is printed on a clean white uncoated stock, followed by an extensive biographical text written by the artist's son that shifts the tone to a warm, rough textured material. An archive section of thumbnail imagery and work information ends the publication, printed in dark grey on a lighter grey paper.
Endpapers tonally shift the cover material from blue to green, and feature an envelope on the inside back cover with a loose black and white photograph of the works in situ.
–
Editors: Kirk McInroy, Rob Spragg
Text: Benedict Harrison
Concept and Design: Wolfe Hall
Copy Editor: Cathy Johns
Typeset in Eterne Text by @sharp_type @kiatas
With thanks to Kia for additional language support
#steveharrison #modernart #ceramics #artbook #bookdesign #wolfehall
Steve Harrison
Forty
@stuartshavemodernart
–
A publication to celebrate ceramicist @steve_harrison_pots four decades of work. Showcasing a selection of 'Loft Pots', works that the artist stored in his attic after being fired, kept close due to their deeply felt significance. The book represents the most significant presentation of his archive to date – many of these objects having never been seen before – reflecting the depth and range of his technique, as well as the evolution of his craft.
The texture of the cover references Harrison's use of salt glaze, a technique where salt is thrown into a hot kiln, causing it to vaporize and chemically react, leaving a slightly translucent and dappled finish. This has been lightly impressed with white foil text and blind debossed a sine-wave form on the front and back covers. This shape was also used as the plinth furniture to showcase the works in the exhibition, signifying the ongoing nature of his practice.
The book is set in Eterne Text, a typeface that takes cues from William Dwiggins' 'marionette' technique, where he carved the lettering visually, referencing historic methods but reinterpreting them organically.
Each element of the book is printed on a different paper stock to create an ongoing tactility as your leaf through the pages. A plate section of works ordered chronologically from new to old, is printed on a clean white uncoated stock, followed by an extensive biographical text written by the artist's son that shifts the tone to a warm, rough textured material. An archive section of thumbnail imagery and work information ends the publication, printed in dark grey on a lighter grey paper.
Endpapers tonally shift the cover material from blue to green, and feature an envelope on the inside back cover with a loose black and white photograph of the works in situ.
–
Editors: Kirk McInroy, Rob Spragg
Text: Benedict Harrison
Concept and Design: Wolfe Hall
Copy Editor: Cathy Johns
Typeset in Eterne Text by @sharp_type @kiatas
With thanks to Kia for additional language support
#steveharrison #modernart #ceramics #artbook #bookdesign #wolfehall
Steve Harrison
Forty
@stuartshavemodernart
–
A publication to celebrate ceramicist @steve_harrison_pots four decades of work. Showcasing a selection of 'Loft Pots', works that the artist stored in his attic after being fired, kept close due to their deeply felt significance. The book represents the most significant presentation of his archive to date – many of these objects having never been seen before – reflecting the depth and range of his technique, as well as the evolution of his craft.
The texture of the cover references Harrison's use of salt glaze, a technique where salt is thrown into a hot kiln, causing it to vaporize and chemically react, leaving a slightly translucent and dappled finish. This has been lightly impressed with white foil text and blind debossed a sine-wave form on the front and back covers. This shape was also used as the plinth furniture to showcase the works in the exhibition, signifying the ongoing nature of his practice.
The book is set in Eterne Text, a typeface that takes cues from William Dwiggins' 'marionette' technique, where he carved the lettering visually, referencing historic methods but reinterpreting them organically.
Each element of the book is printed on a different paper stock to create an ongoing tactility as your leaf through the pages. A plate section of works ordered chronologically from new to old, is printed on a clean white uncoated stock, followed by an extensive biographical text written by the artist's son that shifts the tone to a warm, rough textured material. An archive section of thumbnail imagery and work information ends the publication, printed in dark grey on a lighter grey paper.
Endpapers tonally shift the cover material from blue to green, and feature an envelope on the inside back cover with a loose black and white photograph of the works in situ.
–
Editors: Kirk McInroy, Rob Spragg
Text: Benedict Harrison
Concept and Design: Wolfe Hall
Copy Editor: Cathy Johns
Typeset in Eterne Text by @sharp_type @kiatas
With thanks to Kia for additional language support
#steveharrison #modernart #ceramics #artbook #bookdesign #wolfehall
Steve Harrison
Forty
@stuartshavemodernart
–
A publication to celebrate ceramicist @steve_harrison_pots four decades of work. Showcasing a selection of 'Loft Pots', works that the artist stored in his attic after being fired, kept close due to their deeply felt significance. The book represents the most significant presentation of his archive to date – many of these objects having never been seen before – reflecting the depth and range of his technique, as well as the evolution of his craft.
The texture of the cover references Harrison's use of salt glaze, a technique where salt is thrown into a hot kiln, causing it to vaporize and chemically react, leaving a slightly translucent and dappled finish. This has been lightly impressed with white foil text and blind debossed a sine-wave form on the front and back covers. This shape was also used as the plinth furniture to showcase the works in the exhibition, signifying the ongoing nature of his practice.
The book is set in Eterne Text, a typeface that takes cues from William Dwiggins' 'marionette' technique, where he carved the lettering visually, referencing historic methods but reinterpreting them organically.
Each element of the book is printed on a different paper stock to create an ongoing tactility as your leaf through the pages. A plate section of works ordered chronologically from new to old, is printed on a clean white uncoated stock, followed by an extensive biographical text written by the artist's son that shifts the tone to a warm, rough textured material. An archive section of thumbnail imagery and work information ends the publication, printed in dark grey on a lighter grey paper.
Endpapers tonally shift the cover material from blue to green, and feature an envelope on the inside back cover with a loose black and white photograph of the works in situ.
–
Editors: Kirk McInroy, Rob Spragg
Text: Benedict Harrison
Concept and Design: Wolfe Hall
Copy Editor: Cathy Johns
Typeset in Eterne Text by @sharp_type @kiatas
With thanks to Kia for additional language support
#steveharrison #modernart #ceramics #artbook #bookdesign #wolfehall
Steve Harrison
Forty
@stuartshavemodernart
–
A publication to celebrate ceramicist @steve_harrison_pots four decades of work. Showcasing a selection of 'Loft Pots', works that the artist stored in his attic after being fired, kept close due to their deeply felt significance. The book represents the most significant presentation of his archive to date – many of these objects having never been seen before – reflecting the depth and range of his technique, as well as the evolution of his craft.
The texture of the cover references Harrison's use of salt glaze, a technique where salt is thrown into a hot kiln, causing it to vaporize and chemically react, leaving a slightly translucent and dappled finish. This has been lightly impressed with white foil text and blind debossed a sine-wave form on the front and back covers. This shape was also used as the plinth furniture to showcase the works in the exhibition, signifying the ongoing nature of his practice.
The book is set in Eterne Text, a typeface that takes cues from William Dwiggins' 'marionette' technique, where he carved the lettering visually, referencing historic methods but reinterpreting them organically.
Each element of the book is printed on a different paper stock to create an ongoing tactility as your leaf through the pages. A plate section of works ordered chronologically from new to old, is printed on a clean white uncoated stock, followed by an extensive biographical text written by the artist's son that shifts the tone to a warm, rough textured material. An archive section of thumbnail imagery and work information ends the publication, printed in dark grey on a lighter grey paper.
Endpapers tonally shift the cover material from blue to green, and feature an envelope on the inside back cover with a loose black and white photograph of the works in situ.
–
Editors: Kirk McInroy, Rob Spragg
Text: Benedict Harrison
Concept and Design: Wolfe Hall
Copy Editor: Cathy Johns
Typeset in Eterne Text by @sharp_type @kiatas
With thanks to Kia for additional language support
#steveharrison #modernart #ceramics #artbook #bookdesign #wolfehall
Steve Harrison
Forty
@stuartshavemodernart
–
A publication to celebrate ceramicist @steve_harrison_pots four decades of work. Showcasing a selection of 'Loft Pots', works that the artist stored in his attic after being fired, kept close due to their deeply felt significance. The book represents the most significant presentation of his archive to date – many of these objects having never been seen before – reflecting the depth and range of his technique, as well as the evolution of his craft.
The texture of the cover references Harrison's use of salt glaze, a technique where salt is thrown into a hot kiln, causing it to vaporize and chemically react, leaving a slightly translucent and dappled finish. This has been lightly impressed with white foil text and blind debossed a sine-wave form on the front and back covers. This shape was also used as the plinth furniture to showcase the works in the exhibition, signifying the ongoing nature of his practice.
The book is set in Eterne Text, a typeface that takes cues from William Dwiggins' 'marionette' technique, where he carved the lettering visually, referencing historic methods but reinterpreting them organically.
Each element of the book is printed on a different paper stock to create an ongoing tactility as your leaf through the pages. A plate section of works ordered chronologically from new to old, is printed on a clean white uncoated stock, followed by an extensive biographical text written by the artist's son that shifts the tone to a warm, rough textured material. An archive section of thumbnail imagery and work information ends the publication, printed in dark grey on a lighter grey paper.
Endpapers tonally shift the cover material from blue to green, and feature an envelope on the inside back cover with a loose black and white photograph of the works in situ.
–
Editors: Kirk McInroy, Rob Spragg
Text: Benedict Harrison
Concept and Design: Wolfe Hall
Copy Editor: Cathy Johns
Typeset in Eterne Text by @sharp_type @kiatas
With thanks to Kia for additional language support
#steveharrison #modernart #ceramics #artbook #bookdesign #wolfehall
Marina Tabassum Architects
Serpentine Pavilion 2025: A Capsule in Time
@serpentineuk
–
Inspired by the tradition of park-going and arched garden canopies that filter soft daylight through tree foliage, the sculptural quality of this years Serpentine Pavilion by Bangladeshi architect @marinatabassum and her firm, Marina Tabassum Architects (MTA), this structure prompts a dialogue between the permanent and the ephemeral nature of this ongoing commission. The structure is composed of four wooden capsule forms with a translucent façade that diffuses and dapples sunlight when infiltrating the space, interplaying of light and shadow as a way to emphasise the sensory and spiritual possibilities of architecture.
An extended visual essay by @iwanbaan opens the book, exploring the pavilion through the course of a day, highlighting the changing qualities of light and the interactions of people who are using the building. Further contributions look deeper into Tabassum’s wider practice, process, and her environmental approaches.
Elements of the design echo the shaping of the structure: stepping text on the cover, sharply indenting the start of paragraphs, shifting the placement of contextual imagery across the page and cutting into essays.
The book is set in Columba Text, type with irregular linework inspired by hand-rendered lettering giving the copy a warm feeling.
–
Editor: @chris__bayley
Contributions: @hansulrichobrist @perweenhasan @naeem_mohaiemen @deborahberke @david.chipperfield @ranabegumstudio @shumonbasar @de.monchaux @iwanbaan
Typeset: Columba Text by East of Rome
#serpentinepavilion #serpentine #marinatabassum #mta #architecture #architecturebook #artbook #bookdesign #wolfehall
Marina Tabassum Architects
Serpentine Pavilion 2025: A Capsule in Time
@serpentineuk
–
Inspired by the tradition of park-going and arched garden canopies that filter soft daylight through tree foliage, the sculptural quality of this years Serpentine Pavilion by Bangladeshi architect @marinatabassum and her firm, Marina Tabassum Architects (MTA), this structure prompts a dialogue between the permanent and the ephemeral nature of this ongoing commission. The structure is composed of four wooden capsule forms with a translucent façade that diffuses and dapples sunlight when infiltrating the space, interplaying of light and shadow as a way to emphasise the sensory and spiritual possibilities of architecture.
An extended visual essay by @iwanbaan opens the book, exploring the pavilion through the course of a day, highlighting the changing qualities of light and the interactions of people who are using the building. Further contributions look deeper into Tabassum’s wider practice, process, and her environmental approaches.
Elements of the design echo the shaping of the structure: stepping text on the cover, sharply indenting the start of paragraphs, shifting the placement of contextual imagery across the page and cutting into essays.
The book is set in Columba Text, type with irregular linework inspired by hand-rendered lettering giving the copy a warm feeling.
–
Editor: @chris__bayley
Contributions: @hansulrichobrist @perweenhasan @naeem_mohaiemen @deborahberke @david.chipperfield @ranabegumstudio @shumonbasar @de.monchaux @iwanbaan
Typeset: Columba Text by East of Rome
#serpentinepavilion #serpentine #marinatabassum #mta #architecture #architecturebook #artbook #bookdesign #wolfehall
Marina Tabassum Architects
Serpentine Pavilion 2025: A Capsule in Time
@serpentineuk
–
Inspired by the tradition of park-going and arched garden canopies that filter soft daylight through tree foliage, the sculptural quality of this years Serpentine Pavilion by Bangladeshi architect @marinatabassum and her firm, Marina Tabassum Architects (MTA), this structure prompts a dialogue between the permanent and the ephemeral nature of this ongoing commission. The structure is composed of four wooden capsule forms with a translucent façade that diffuses and dapples sunlight when infiltrating the space, interplaying of light and shadow as a way to emphasise the sensory and spiritual possibilities of architecture.
An extended visual essay by @iwanbaan opens the book, exploring the pavilion through the course of a day, highlighting the changing qualities of light and the interactions of people who are using the building. Further contributions look deeper into Tabassum’s wider practice, process, and her environmental approaches.
Elements of the design echo the shaping of the structure: stepping text on the cover, sharply indenting the start of paragraphs, shifting the placement of contextual imagery across the page and cutting into essays.
The book is set in Columba Text, type with irregular linework inspired by hand-rendered lettering giving the copy a warm feeling.
–
Editor: @chris__bayley
Contributions: @hansulrichobrist @perweenhasan @naeem_mohaiemen @deborahberke @david.chipperfield @ranabegumstudio @shumonbasar @de.monchaux @iwanbaan
Typeset: Columba Text by East of Rome
#serpentinepavilion #serpentine #marinatabassum #mta #architecture #architecturebook #artbook #bookdesign #wolfehall
Marina Tabassum Architects
Serpentine Pavilion 2025: A Capsule in Time
@serpentineuk
–
Inspired by the tradition of park-going and arched garden canopies that filter soft daylight through tree foliage, the sculptural quality of this years Serpentine Pavilion by Bangladeshi architect @marinatabassum and her firm, Marina Tabassum Architects (MTA), this structure prompts a dialogue between the permanent and the ephemeral nature of this ongoing commission. The structure is composed of four wooden capsule forms with a translucent façade that diffuses and dapples sunlight when infiltrating the space, interplaying of light and shadow as a way to emphasise the sensory and spiritual possibilities of architecture.
An extended visual essay by @iwanbaan opens the book, exploring the pavilion through the course of a day, highlighting the changing qualities of light and the interactions of people who are using the building. Further contributions look deeper into Tabassum’s wider practice, process, and her environmental approaches.
Elements of the design echo the shaping of the structure: stepping text on the cover, sharply indenting the start of paragraphs, shifting the placement of contextual imagery across the page and cutting into essays.
The book is set in Columba Text, type with irregular linework inspired by hand-rendered lettering giving the copy a warm feeling.
–
Editor: @chris__bayley
Contributions: @hansulrichobrist @perweenhasan @naeem_mohaiemen @deborahberke @david.chipperfield @ranabegumstudio @shumonbasar @de.monchaux @iwanbaan
Typeset: Columba Text by East of Rome
#serpentinepavilion #serpentine #marinatabassum #mta #architecture #architecturebook #artbook #bookdesign #wolfehall
Marina Tabassum Architects
Serpentine Pavilion 2025: A Capsule in Time
@serpentineuk
–
Inspired by the tradition of park-going and arched garden canopies that filter soft daylight through tree foliage, the sculptural quality of this years Serpentine Pavilion by Bangladeshi architect @marinatabassum and her firm, Marina Tabassum Architects (MTA), this structure prompts a dialogue between the permanent and the ephemeral nature of this ongoing commission. The structure is composed of four wooden capsule forms with a translucent façade that diffuses and dapples sunlight when infiltrating the space, interplaying of light and shadow as a way to emphasise the sensory and spiritual possibilities of architecture.
An extended visual essay by @iwanbaan opens the book, exploring the pavilion through the course of a day, highlighting the changing qualities of light and the interactions of people who are using the building. Further contributions look deeper into Tabassum’s wider practice, process, and her environmental approaches.
Elements of the design echo the shaping of the structure: stepping text on the cover, sharply indenting the start of paragraphs, shifting the placement of contextual imagery across the page and cutting into essays.
The book is set in Columba Text, type with irregular linework inspired by hand-rendered lettering giving the copy a warm feeling.
–
Editor: @chris__bayley
Contributions: @hansulrichobrist @perweenhasan @naeem_mohaiemen @deborahberke @david.chipperfield @ranabegumstudio @shumonbasar @de.monchaux @iwanbaan
Typeset: Columba Text by East of Rome
#serpentinepavilion #serpentine #marinatabassum #mta #architecture #architecturebook #artbook #bookdesign #wolfehall
Marina Tabassum Architects
Serpentine Pavilion 2025: A Capsule in Time
@serpentineuk
–
Inspired by the tradition of park-going and arched garden canopies that filter soft daylight through tree foliage, the sculptural quality of this years Serpentine Pavilion by Bangladeshi architect @marinatabassum and her firm, Marina Tabassum Architects (MTA), this structure prompts a dialogue between the permanent and the ephemeral nature of this ongoing commission. The structure is composed of four wooden capsule forms with a translucent façade that diffuses and dapples sunlight when infiltrating the space, interplaying of light and shadow as a way to emphasise the sensory and spiritual possibilities of architecture.
An extended visual essay by @iwanbaan opens the book, exploring the pavilion through the course of a day, highlighting the changing qualities of light and the interactions of people who are using the building. Further contributions look deeper into Tabassum’s wider practice, process, and her environmental approaches.
Elements of the design echo the shaping of the structure: stepping text on the cover, sharply indenting the start of paragraphs, shifting the placement of contextual imagery across the page and cutting into essays.
The book is set in Columba Text, type with irregular linework inspired by hand-rendered lettering giving the copy a warm feeling.
–
Editor: @chris__bayley
Contributions: @hansulrichobrist @perweenhasan @naeem_mohaiemen @deborahberke @david.chipperfield @ranabegumstudio @shumonbasar @de.monchaux @iwanbaan
Typeset: Columba Text by East of Rome
#serpentinepavilion #serpentine #marinatabassum #mta #architecture #architecturebook #artbook #bookdesign #wolfehall
Marina Tabassum Architects
Serpentine Pavilion 2025: A Capsule in Time
@serpentineuk
–
Inspired by the tradition of park-going and arched garden canopies that filter soft daylight through tree foliage, the sculptural quality of this years Serpentine Pavilion by Bangladeshi architect @marinatabassum and her firm, Marina Tabassum Architects (MTA), this structure prompts a dialogue between the permanent and the ephemeral nature of this ongoing commission. The structure is composed of four wooden capsule forms with a translucent façade that diffuses and dapples sunlight when infiltrating the space, interplaying of light and shadow as a way to emphasise the sensory and spiritual possibilities of architecture.
An extended visual essay by @iwanbaan opens the book, exploring the pavilion through the course of a day, highlighting the changing qualities of light and the interactions of people who are using the building. Further contributions look deeper into Tabassum’s wider practice, process, and her environmental approaches.
Elements of the design echo the shaping of the structure: stepping text on the cover, sharply indenting the start of paragraphs, shifting the placement of contextual imagery across the page and cutting into essays.
The book is set in Columba Text, type with irregular linework inspired by hand-rendered lettering giving the copy a warm feeling.
–
Editor: @chris__bayley
Contributions: @hansulrichobrist @perweenhasan @naeem_mohaiemen @deborahberke @david.chipperfield @ranabegumstudio @shumonbasar @de.monchaux @iwanbaan
Typeset: Columba Text by East of Rome
#serpentinepavilion #serpentine #marinatabassum #mta #architecture #architecturebook #artbook #bookdesign #wolfehall
Marina Tabassum Architects
Serpentine Pavilion 2025: A Capsule in Time
@serpentineuk
–
Inspired by the tradition of park-going and arched garden canopies that filter soft daylight through tree foliage, the sculptural quality of this years Serpentine Pavilion by Bangladeshi architect @marinatabassum and her firm, Marina Tabassum Architects (MTA), this structure prompts a dialogue between the permanent and the ephemeral nature of this ongoing commission. The structure is composed of four wooden capsule forms with a translucent façade that diffuses and dapples sunlight when infiltrating the space, interplaying of light and shadow as a way to emphasise the sensory and spiritual possibilities of architecture.
An extended visual essay by @iwanbaan opens the book, exploring the pavilion through the course of a day, highlighting the changing qualities of light and the interactions of people who are using the building. Further contributions look deeper into Tabassum’s wider practice, process, and her environmental approaches.
Elements of the design echo the shaping of the structure: stepping text on the cover, sharply indenting the start of paragraphs, shifting the placement of contextual imagery across the page and cutting into essays.
The book is set in Columba Text, type with irregular linework inspired by hand-rendered lettering giving the copy a warm feeling.
–
Editor: @chris__bayley
Contributions: @hansulrichobrist @perweenhasan @naeem_mohaiemen @deborahberke @david.chipperfield @ranabegumstudio @shumonbasar @de.monchaux @iwanbaan
Typeset: Columba Text by East of Rome
#serpentinepavilion #serpentine #marinatabassum #mta #architecture #architecturebook #artbook #bookdesign #wolfehall
Marina Tabassum Architects
Serpentine Pavilion 2025: A Capsule in Time
@serpentineuk
–
Inspired by the tradition of park-going and arched garden canopies that filter soft daylight through tree foliage, the sculptural quality of this years Serpentine Pavilion by Bangladeshi architect @marinatabassum and her firm, Marina Tabassum Architects (MTA), this structure prompts a dialogue between the permanent and the ephemeral nature of this ongoing commission. The structure is composed of four wooden capsule forms with a translucent façade that diffuses and dapples sunlight when infiltrating the space, interplaying of light and shadow as a way to emphasise the sensory and spiritual possibilities of architecture.
An extended visual essay by @iwanbaan opens the book, exploring the pavilion through the course of a day, highlighting the changing qualities of light and the interactions of people who are using the building. Further contributions look deeper into Tabassum’s wider practice, process, and her environmental approaches.
Elements of the design echo the shaping of the structure: stepping text on the cover, sharply indenting the start of paragraphs, shifting the placement of contextual imagery across the page and cutting into essays.
The book is set in Columba Text, type with irregular linework inspired by hand-rendered lettering giving the copy a warm feeling.
–
Editor: @chris__bayley
Contributions: @hansulrichobrist @perweenhasan @naeem_mohaiemen @deborahberke @david.chipperfield @ranabegumstudio @shumonbasar @de.monchaux @iwanbaan
Typeset: Columba Text by East of Rome
#serpentinepavilion #serpentine #marinatabassum #mta #architecture #architecturebook #artbook #bookdesign #wolfehall
Marina Tabassum Architects
Serpentine Pavilion 2025: A Capsule in Time
@serpentineuk
–
Inspired by the tradition of park-going and arched garden canopies that filter soft daylight through tree foliage, the sculptural quality of this years Serpentine Pavilion by Bangladeshi architect @marinatabassum and her firm, Marina Tabassum Architects (MTA), this structure prompts a dialogue between the permanent and the ephemeral nature of this ongoing commission. The structure is composed of four wooden capsule forms with a translucent façade that diffuses and dapples sunlight when infiltrating the space, interplaying of light and shadow as a way to emphasise the sensory and spiritual possibilities of architecture.
An extended visual essay by @iwanbaan opens the book, exploring the pavilion through the course of a day, highlighting the changing qualities of light and the interactions of people who are using the building. Further contributions look deeper into Tabassum’s wider practice, process, and her environmental approaches.
Elements of the design echo the shaping of the structure: stepping text on the cover, sharply indenting the start of paragraphs, shifting the placement of contextual imagery across the page and cutting into essays.
The book is set in Columba Text, type with irregular linework inspired by hand-rendered lettering giving the copy a warm feeling.
–
Editor: @chris__bayley
Contributions: @hansulrichobrist @perweenhasan @naeem_mohaiemen @deborahberke @david.chipperfield @ranabegumstudio @shumonbasar @de.monchaux @iwanbaan
Typeset: Columba Text by East of Rome
#serpentinepavilion #serpentine #marinatabassum #mta #architecture #architecturebook #artbook #bookdesign #wolfehall
Marina Tabassum Architects
Serpentine Pavilion 2025: A Capsule in Time
@serpentineuk
–
Inspired by the tradition of park-going and arched garden canopies that filter soft daylight through tree foliage, the sculptural quality of this years Serpentine Pavilion by Bangladeshi architect @marinatabassum and her firm, Marina Tabassum Architects (MTA), this structure prompts a dialogue between the permanent and the ephemeral nature of this ongoing commission. The structure is composed of four wooden capsule forms with a translucent façade that diffuses and dapples sunlight when infiltrating the space, interplaying of light and shadow as a way to emphasise the sensory and spiritual possibilities of architecture.
An extended visual essay by @iwanbaan opens the book, exploring the pavilion through the course of a day, highlighting the changing qualities of light and the interactions of people who are using the building. Further contributions look deeper into Tabassum’s wider practice, process, and her environmental approaches.
Elements of the design echo the shaping of the structure: stepping text on the cover, sharply indenting the start of paragraphs, shifting the placement of contextual imagery across the page and cutting into essays.
The book is set in Columba Text, type with irregular linework inspired by hand-rendered lettering giving the copy a warm feeling.
–
Editor: @chris__bayley
Contributions: @hansulrichobrist @perweenhasan @naeem_mohaiemen @deborahberke @david.chipperfield @ranabegumstudio @shumonbasar @de.monchaux @iwanbaan
Typeset: Columba Text by East of Rome
#serpentinepavilion #serpentine #marinatabassum #mta #architecture #architecturebook #artbook #bookdesign #wolfehall
Marina Tabassum Architects
Serpentine Pavilion 2025: A Capsule in Time
@serpentineuk
–
Inspired by the tradition of park-going and arched garden canopies that filter soft daylight through tree foliage, the sculptural quality of this years Serpentine Pavilion by Bangladeshi architect @marinatabassum and her firm, Marina Tabassum Architects (MTA), this structure prompts a dialogue between the permanent and the ephemeral nature of this ongoing commission. The structure is composed of four wooden capsule forms with a translucent façade that diffuses and dapples sunlight when infiltrating the space, interplaying of light and shadow as a way to emphasise the sensory and spiritual possibilities of architecture.
An extended visual essay by @iwanbaan opens the book, exploring the pavilion through the course of a day, highlighting the changing qualities of light and the interactions of people who are using the building. Further contributions look deeper into Tabassum’s wider practice, process, and her environmental approaches.
Elements of the design echo the shaping of the structure: stepping text on the cover, sharply indenting the start of paragraphs, shifting the placement of contextual imagery across the page and cutting into essays.
The book is set in Columba Text, type with irregular linework inspired by hand-rendered lettering giving the copy a warm feeling.
–
Editor: @chris__bayley
Contributions: @hansulrichobrist @perweenhasan @naeem_mohaiemen @deborahberke @david.chipperfield @ranabegumstudio @shumonbasar @de.monchaux @iwanbaan
Typeset: Columba Text by East of Rome
#serpentinepavilion #serpentine #marinatabassum #mta #architecture #architecturebook #artbook #bookdesign #wolfehall
View Instagram Stories in Secret
The Instagram Story Viewer is an easy tool that lets you secretly watch and save Instagram stories, videos, photos, or IGTV. With this service, you can download content and enjoy it offline whenever you like. If you find something interesting on Instagram that you’d like to check out later or want to view stories while staying anonymous, our Viewer is perfect for you. Anonstories offers an excellent solution for keeping your identity hidden. Instagram first launched the Stories feature in August 2023, which was quickly adopted by other platforms due to its engaging, time-sensitive format. Stories let users share quick updates, whether photos, videos, or selfies, enhanced with text, emojis, or filters, and are visible for only 24 hours. This limited time frame creates high engagement compared to regular posts. In today’s world, Stories are one of the most popular ways to connect and communicate on social media. However, when you view a Story, the creator can see your name in their viewer list, which may be a privacy concern. What if you wish to browse Stories without being noticed? Here’s where Anonstories becomes useful. It allows you to watch public Instagram content without revealing your identity. Simply enter the username of the profile you’re curious about, and the tool will display their latest Stories. Features of Anonstories Viewer: - Anonymous Browsing: Watch Stories without showing up on the viewer list. - No Account Needed: View public content without signing up for an Instagram account. - Content Download: Save any Stories content directly to your device for offline use. - View Highlights: Access Instagram Highlights, even beyond the 24-hour window. - Repost Monitoring: Track the reposts or engagement levels on Stories for personal profiles. Limitations: - This tool works only with public accounts; private accounts remain inaccessible. Benefits: - Privacy-Friendly: Watch any Instagram content without being noticed. - Simple and Easy: No app installation or registration required. - Exclusive Tools: Download and manage content in ways Instagram doesn’t offer.
Advantages of Anonstories
Explore IG Stories Privately
Keep track of Instagram updates discreetly while protecting your privacy and staying anonymous.
Private Instagram Viewer
View profiles and photos anonymously with ease using the Private Profile Viewer.
Story Viewer for Free
This free tool allows you to view Instagram Stories anonymously, ensuring your activity remains hidden from the story uploader.
Frequently asked questions
Anonymity
Anonstories lets users view Instagram stories without alerting the creator.
Device Compatibility
Works seamlessly on iOS, Android, Windows, macOS, and modern browsers like Chrome and Safari.
Safety and Privacy
Prioritizes secure, anonymous browsing without requiring login credentials.
No Registration
Users can view public stories by simply entering a username—no account needed.
Supported Formats
Downloads photos (JPEG) and videos (MP4) with ease.
Cost
The service is free to use.
Private Accounts
Content from private accounts can only be accessed by followers.
File Usage
Files are for personal or educational use only and must comply with copyright rules.
How It Works
Enter a public username to view or download stories. The service generates direct links for saving content locally.