Brion Gysin

There's calligraphy and then there's loose, abstract calligraphy.

The images are from Creativetime and Sweetbooks.

In the blue work we can make out the words. Basically it's just two phrases that are starting to devolve. In fact it's titled "I Give You/You Give Me", Ink on paper and was made during an LSD trip with John Giorno, May 28, 1965.

In the little brown piece we're still convinced that there are at least letters here if not words and maybe even a phrase. Our mind searches for clues but it's just abstract enough that we relax and accept the funny shapes of the lines.

The white work is now just the barest memory of letters and writing. It seems to have some sort of calculation to it with the possibility of even serving some purpose. But now we're forced to like or dislike the composition(itself) of strange shapes.
And then finally you've got the lovely piece in pastel blues at the bottom from 1985 that's just simple calligraphic shapes and washes and touches of color. It's easy on the mind. It could be bells or flowers or just funny shapes.

And for me the next step is to combine both the whole abstract effect of this last painting with the actual calligraphy of the first painting. That is where my desires and attractions lie.

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