Christian Dotremont presents us with unreadable calligraphy that we appreciate and enjoy visually; then balances the composition by adding legible French at the bottom, which when read, would redirect us mentally.
If you did some homework by pursuing the links in the last post, you'll understand my comments about trends and styles from the past being reiterated and re presented in the oeuvres of younger artists. The more art you see, the more obvious these genealogies become. Many an artist, through the ages, has experimented with writing/calligraphy and even today we're still looking for new ways to decoratively express our opinions through words, even when we decide to hide the meaning. Consider a piece of glass; if it's clear we see through it, but if it's mirrored our vision is redirected. I'm not exactly sure which way to make the best analogy here, but being able (or not) to read calligraphic marks taht we're viewing determines how our vision and thoughts are directed. The work above is a great example of the glass/mirror effect.
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In the works below, we're convinced that these marks have meaning and we try to find the answer. So rather than viewing a landscape and "walking through it", were interacting with these works in a different way; searching for clues of a different sort.
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.On your left is work by Desai Manohar Vitthal, from the wonderfully absorbing site, Museum of Calligraphy.
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On you right, a work by Bridgitte Radecki from Centre For Contemporary Canadian Art.
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Top image is from Galerie Birch. They have a good bio about his work, with links to other artists in the COBRA Movement.
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