Identity and exhibition graphics for a show at the intersection of technology, beauty and value.​​

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For her solo exhibition at Nahmad Projects, Sarah Meyohas presented a body of work that moved fluidly between symbolism and speculation. The identity responded with a visual language that was restrained but deliberate – typographically led, materially precise, and sensitive to the work’s shifting registers.

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Typography played a central role – set at scale, it became sculptural and spatial, operating less as language and more as presence.  Set in a stylised, pseudo-historical typeface – part blackletter, part early system font – chosen for its digital awkwardness. Its artificial form echoed the work’s themes of simulation and constructed value. In the gallery, typography was placed with care – not to explain the work, but to accompany it.

 

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The key visual was drawn from Meyohas’s Speculations series – a recursive image of reflection and illusion, originally conceived to question how value is constructed. Rather than intervene, the identity treated the image as an anchor: typographic elements were introduced with care, maintaining the image’s metaphysical charge while providing structure and clarity. The result was a system that didn’t explain or embellish the work, but moved in parallel with it – stylised, strategic, and calibrated to its particular frequency.

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Artist: Sarah Meyohas

Graphic Art Direction: Billie Temple
Gallery: Nahmad Projects

Installation Photography: Stephen White & Co