Un linguaggio inaudito (Hearth)
First piece: An unheard-of Language (Marker on paper)
Stopping the automatism which takes us towards the present of the definition, and wants us to be related to the words, as if they were a foregone conclusion, signifying gaps: is it any wonder we feel when we find ourselves in this mechanism, like in a short circuit, when suddenly words and experience are related as onomatopoeia? When this happens we feel the need to return to the beginning; the logic of the signifying word is in fact only the last step of a language. For the creative will, the origin of a word literally corresponds to the value of a poetic action. The concept was born along with the word, which is, originally, his highest symbol, synthetic turn. Then the languages are filed and the words stop rising. In that moment we must strive to keep alive the poetic side of the linguistic logic. The intellectual is not as aware and proud of his practical action as he is of his art, and yet, dur- ing his writing, he has to deal with a technique; the printed page is a graphic fact, and who might ig- nore that specific language would look at it as a simple drawing. “An unheard-of language” is a text that can be written, but it does not necessarily need to be read: it is a drawing of prime words. “I have a dis- ease: I can see what I should only be able to hear, the language; it is a strange instinct, perverse, as the desire choosed the wrong object, to disclose it to me as a vision” - vision, revealed signifier.
Second piece: Hearth (Bronze patinated with fire)
The word becomes material, moulded by its shape, from the letters that became foreign. It takes shape evaporating through the communion of the elements of which it is intimately made. The word “Hearth” becomes the focus, the bed of fusion, intimacy, formed by hand on a slab of clay, in order to create a crucible of earth, then enclosed in a mould of wax, covered in plaster. and then put in the fire, melted, and reformed in the cavity of its absence with metal of the precious fire. It is first and foremost word, then initimacy, the fusion, then fire, then crucible. “Here words relive,” the meaning finds its original sense in the alchemi- cal process hidden in the word, from the experience and the imagination that created it.
Stopping the automatism which takes us towards the present of the definition, and wants us to be related to the words, as if they were a foregone conclusion, signifying gaps: is it any wonder we feel when we find ourselves in this mechanism, like in a short circuit, when suddenly words and experience are related as onomatopoeia? When this happens we feel the need to return to the beginning; the logic of the signifying word is in fact only the last step of a language. For the creative will, the origin of a word literally corresponds to the value of a poetic action. The concept was born along with the word, which is, originally, his highest symbol, synthetic turn. Then the languages are filed and the words stop rising. In that moment we must strive to keep alive the poetic side of the linguistic logic. The intellectual is not as aware and proud of his practical action as he is of his art, and yet, dur- ing his writing, he has to deal with a technique; the printed page is a graphic fact, and who might ig- nore that specific language would look at it as a simple drawing. “An unheard-of language” is a text that can be written, but it does not necessarily need to be read: it is a drawing of prime words. “I have a dis- ease: I can see what I should only be able to hear, the language; it is a strange instinct, perverse, as the desire choosed the wrong object, to disclose it to me as a vision” - vision, revealed signifier.
Second piece: Hearth (Bronze patinated with fire)
The word becomes material, moulded by its shape, from the letters that became foreign. It takes shape evaporating through the communion of the elements of which it is intimately made. The word “Hearth” becomes the focus, the bed of fusion, intimacy, formed by hand on a slab of clay, in order to create a crucible of earth, then enclosed in a mould of wax, covered in plaster. and then put in the fire, melted, and reformed in the cavity of its absence with metal of the precious fire. It is first and foremost word, then initimacy, the fusion, then fire, then crucible. “Here words relive,” the meaning finds its original sense in the alchemi- cal process hidden in the word, from the experience and the imagination that created it.
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