|Dimensions||30 x 29 x 3 cm|
Edition of twenty, 2014
The leporello demonstrates coexistence between time and space when turning the page over a 180 degree rotation. Every page contains a circle and when closed all the pages form one circle.
Acquired by Boston Athenaeum and the Metropolitan Museum of Art.
|Dimensions||30 x 29 x 3 cm|
Whilst grounded in extensive academic research, followed by months of experimentation and paper maquettes, Patrizia’s works are undoubtedly alluring, even to the casual viewer. Exquisitely bound with incredible attention to detail, the books are also celebrations of the craft and the skill of bookbinding.
Simultanéité is a book that is indicative of Patrizia’s practice. The pages are folded into a leporello format and play on a world concurrently existing in space and time. Each page of the book contains a circle and once the book is closed; the sum of the pages also form another circle. “One of the starting points that made me think about the element of time in a book was a quote by Keith A. Smith who states about turning the page: It is a physical movement. Turning the page reveals the order of viewing. It places the book into time.” This simple movement — basically a 180 degree rotation – makes apparent that time and space are inextricably linked in the form of the book. Since the content almost always hidden due to the layering of the pages it can only be revealed piece by piece in a chronological way.”
Driven by theorist Henri Bergson’s ideas about time, Patrizia’s recent works have examined the artist’s book as a temporal object. “It is not until the reader’s decision to turn the pages to access the content that the aspect of time emerges. Until that point the book is just an object. My intention was to emphasise the experience of perception, which requires the handling,” she says. “Walter Hamady writes, that in any case the viewer becomes a participant, not as the public by display but in private by one-person-at-a-time revelation.”
Of future projects, Patrizia is currently introducing another element into her work – that of music. “Recently the work of Morton Feldman has been inspiring me in many ways. It’s his later period of music that’s made me think about time – it seems to unfold in space and to dissolve linearity. It has no beginning and no ending. At the moment I’m working on a project that aims to adapt his way of composing with the patterns in a book.”
Although the theme of temporality focuses Patrizia’s academic endeavours, considerations of the material and medium-based art is pivotal. “It often happens that at the very beginning of creating a work there is an idea of a certain structure or a loose concept. It’s not necessarily the text or the image that comes first. The book Makulatur (the technical term for waste paper) that I published this spring documents this process by archiving the material samples and tests that accompanied the way of creating various book projects.” It is a process characterised by starting where most artists finish – with bound pages.
“The combination of perception of time, as described by Bergson, and the analysis of the book as object is well-founded in several respects. The book is neither exclusively ideally perceived nor as a material object, its very nature is rather characterised by its peculiarity to combine both aspects.
The work of Patrizia Meinert distinguishes itself through the reflecting observation of the phenomenon of time in artist’s books. Thereby the author examines single facets, that are relevant regarding time as a category of perception.“
Dr. Viola Hildebrand-Schat (art historian at Frankfurt University with emphasis on artist’s books)
Works in public collections New York Public Library Minnesota Center for Book Arts German National Library, Leipzig University of Applied Arts, Vienna Ampersand Foundation, Johannesburg Wellesley College, Boston Meermanno Museum, The Hague Van Abbemuseum, Eindhoven Art and Museum Library, Cologne Public Universitätbibliothk, Basel Yale University, Watertown Reed College, Portland