rene Barberis’ work ranges from the monumental , 2006-2019, which combines nanotechnology with Christian apocalyptic imagery, to a variety of minimalist chromatic and formal statements characterised by a conceptual rigor. These seemingly contrary impulses are also evident in her latest project, a book that visually documents the final studio of Sol LeWitt, her friend for over thirty years. On one level, the book pays homage to Le-Witt’s famous 1980 , the pages of which consist of uniform grids of photographs cataloguing “every object” in his combined studio
