DRAWINGS - UTTERANCES
utterances 01 / 2018 / charcoal of paper / 20,7 x 29,5 cm
utterances 02 / 2018 / charcoal of paper / 20,7 x 29,5 cm
utterances 03 / 2018 / charcoal of paper / 20,7 x 29,5 cm
utterances 04 / 2018 / charcoal of paper / 20,7 x 29,5 cm
utterances 05 / 2018 / charcoal of paper / 20,7 x 29,5 cm
utterances 06 / 2018 / charcoal of paper / 20,7 x 29,5 cm
utterances 07 / 2018 / charcoal of paper / 20,7 x 29,5 cm
utterances 08 / 2018 / charcoal of paper / 20,7 x 29,5 cm
TEXT - SCRIPT ROWS / TRANSCRIPTIONS / UTTERANCES
Frankly speaking, I have no patience to write long texts.
Only when I want to "warm up", I cover a pair of sheets with signs from top to bottom. It is seldom that I bring out something like huge blocks of a running text. And if, then rather as a first try, a kind of attunement to now, to my inner disposition and to the mood of my hand.
Not every drawing becomes a "transcription", a "script". This happens when in this very moment there is a burning need in me to say, to tell and to describe something. Then the hand produces signs which remind letters.
Of course, I do not spell out the words. When I feel the urge to communicate something, I become hasty. My thoughts flow like a stream - there is no time to write out the letters. I shorten the letters, the whole words or even phrases, sentences.
Nevertheless, even if the stream takes me along, I separate everything into particles. The interruptions are apparently important to me. I think, I like punctuation. Sometimes I even wonder what I have transcribed: the meanings or the punctuation - the signs of separation / connection between the meanings.
I also have an absolutely different kind of "scripts". I call these drawing series "script rows". Actually, I am interested in exploring extensive landscapes, large spaces where things (i.e. signs) can live with a lot of space around them. But sometimes the theme of the figure, the shape moves me. So much that the signs grow big. They suddenly dominate. The figurative is suddenly there, the sign with its form and own character, it occupies the whole space for itself.
Though I studied linguistics in my distanced past, I have no interest to analyse my visual language from the point of view of linguistics. Rather I wonder about such trivialities like how much of Russian (my mother language) is there in my "transcriptions", and how much of German - my second language.
I have a feeling, I will never find it out. But what I know is that I like edges and angles.