Batia Suter’s work is a collection of found images, which are placed in a new context, generating a modification of their primary meaning, that then leads to surprising interactions. In this way, the artist shows how images can be manipulated according to the place where or the way in which they are positioned.
Parallel Encyclopedia #2 follows the first volume of the same name published in 2007. The book is thus a fictional-narrative-constructing process in which the artist is playing with images, trying to create a new meaning from the confrontation between disparate meanings.
It is a beautiful object, almost similar to the first volume: a thick cover in a plain colour, with a small illustrationat the top. The format, unsurprisingly, is what one might expect of an encyclopedia; the layout is particularly clever and pleasant, the placement and the sizes of the images, as well as the succession of black and white pages with a few colour pages, allow for a suitable rhythm for reading quietly; the page numbers are discreet but sufficiently present , the typographical choice for the text is maybe too predictable. It’s also worth noticing the very good print quality that gives this book a great contrast for the black and white pages and a beautiful intensity to the colour pages, with a special mention of the red fabric page mark that contrasts perfectly with the green of the cover.
Without going too far, would it be safe to say that the beauty of the object might be somehow explained by a loving relationship between the designer of the book and the artist?
Batia Suter’s work is a collection of found images, which are placed in a new context, generating a modification of their primary meaning, that then leads to surprising interactions. In this way, the artist shows how images can be manipulated according to the place where or the way in which they are positioned.
Parallel Encyclopedia #2 follows the first volume of the same name published in 2007. The book is thus a fictional-narrative-constructing process in which the artist is playing with images, trying to create a new meaning from the confrontation between disparate meanings.
It is a beautiful object, almost similar to the first volume: a thick cover in a plain colour, with a small illustrationat the top. The format, unsurprisingly, is what one might expect of an encyclopedia; the layout is particularly clever and pleasant, the placement and the sizes of the images, as well as the succession of black and white pages with a few colour pages, allow for a suitable rhythm for reading quietly; the page numbers are discreet but sufficiently present , the typographical choice for the text is maybe too predictable. It’s also worth noticing the very good print quality that gives this book a great contrast for the black and white pages and a beautiful intensity to the colour pages, with a special mention of the red fabric page mark that contrasts perfectly with the green of the cover.
Without going too far, would it be safe to say that the beauty of the object might be somehow explained by a loving relationship between the designer of the book and the artist?