NOIR SUR NOIR
In a small-format self-publication with an embossed black-on-black dust jacket, the printer Che Huber employs over 200 colour tones as means of artistic expression and recollection in what is an impressive example of non-verbal communication. Each right-hand page contains between one and three rectangles in a wide variety of colours, all arranged in the same way, and each is a reference to someone whom Huber has worked with over the years. Their names are listed in an index at the end: the very opposite of an ostentatious list of famous ‘clients’, it is rather a declaration of love for the collaboration. The way in which the colours bleed through the thin paper can be read as a design statement against superficial working relationships. Depending on the reader’s prior knowledge and interpretative standpoint, the individual colours can no doubt tell entire histories. The limited size and lightweight paper prevent the object from assuming a monumental character: it lies perfectly in the hand and is reasonably flexible. The unusually soft cardboard sleeve printed with black rectangles makes one think of an elaborate gift wrapping.
