Reinoud Oudshoorn’s work consists of simple, controlled shapes in a limited range of materials – predominately metal, matt glass and wood – that evoke a sense of contemplation. Many of the works play with the illusion of perspective and the suggestion of space this can create, whereby the space in and around the sculptures becomes part of the work. In the book, this balance between work and space is translated into painstaking placement of the images on the page, with the white space becoming part of the representations of the works. The extreme restraint in the materials used to create the works is reflected in the tightly controlled, minimal use of colour throughout the book – for example on the different, but always lightly tinted, pages on which the essays are printed in silver ink, but always remaining legible. Naturally given the approach taken, the photography, lithography and printing have been executed with great care and precision. The difference between the coated paper used for the pictorial sections and the uncoated paper for the section with the drawings feels logical, natural and subtle. The silver-grey binding thread complements the silver ink, also used on the black pages at the front and back of the book for the extensive index and credits – some jury members considered this slightly too much of a good thing, which here and there interferes with the concept. With its cover, however – printed in a mix of silver and half-scale black and reverse blind stamped – this is an exemplary book that does justice to Oudshoorn’s work in terms of content, form and attitude.