Archetypes and Residues documents ordinary objects such as chairs, doors, mirrors and table frames, collected by the artist Thomas Raat. The book looks like a catalogue of objects, some of them retaining their original formal state, others having been intentionally recreated. The publication concludes with an index of Raat’s works, their material palettes and various dimensions.
Raat’s sculptural practice is cleverly reflected in this book in the two-dimensionality of the printed page. The cover jacket is illustrated with a geometrical composition of coloured rectangles, corresponding to the colours of the objects presented inside. This geometrical composition and these colours are kept in the book, by using a very precise grid for the layout and by separating the different series of objects with a sheet of coloured paper. The different kinds of papers used for the publication are particularly interesting: the jacket is made of very thin, transparent paper, through which we can read the title of the book that is written on the cover; on the inside of the book, we can find a white glossy paper (for the colour pages) perfectly meeting a brown kraft paper on which Maria Barnas’ essay is written in red, and another different paper is used for the black-and-white pages at the end. The layout is clear, pleasant; the general rhythm a joy to follow.
This catalogue is doing its job perfectly: the artist’s work is magnified. Very easy on the eye!
Archetypes and Residues documents ordinary objects such as chairs, doors, mirrors and table frames, collected by the artist Thomas Raat. The book looks like a catalogue of objects, some of them retaining their original formal state, others having been intentionally recreated. The publication concludes with an index of Raat’s works, their material palettes and various dimensions.
Raat’s sculptural practice is cleverly reflected in this book in the two-dimensionality of the printed page. The cover jacket is illustrated with a geometrical composition of coloured rectangles, corresponding to the colours of the objects presented inside. This geometrical composition and these colours are kept in the book, by using a very precise grid for the layout and by separating the different series of objects with a sheet of coloured paper. The different kinds of papers used for the publication are particularly interesting: the jacket is made of very thin, transparent paper, through which we can read the title of the book that is written on the cover; on the inside of the book, we can find a white glossy paper (for the colour pages) perfectly meeting a brown kraft paper on which Maria Barnas’ essay is written in red, and another different paper is used for the black-and-white pages at the end. The layout is clear, pleasant; the general rhythm a joy to follow.
This catalogue is doing its job perfectly: the artist’s work is magnified. Very easy on the eye!