Über den Aspekt des Sammelns in der Konzeptkunst
The subject of my theoretical work came about by chance through my interest in serial manifestations in art. The series is repeated and varied. It grows in the course of its development and generates new insights time and again. A kind of collection is produced, which in turn strives for completeness. Serial work is based on systematic work and endeavours to escape subjectivity to a certain extent by continually broadening its point of view. It is constantly in the process of optimising itself and heading towards some kind of higher purpose. Since the serial is expressed in the form of the collection, I have examined the idea of collecting more closely with the example of the three conceptual artists Hanne Darboven, Hans-Peter Feldmann and On Kawara. The focus was on the themes of collecting, collection, gathering and series. The outcome of the investigation was that in the works of all three artists, they each collect in a variety of ways. What they all have in common, though, is a systematic way of approaching their work that is expressed in the form of the series.
Schrift und Form und Form und Schrift
The concept behind my practical Diplom project is rooted in my interest in the design of form, particularly in relation to transitional forms from typographic writing processes. My interest lies in the moment when writing evolves into a form or, inversely, when form evolves into a type-like shape. In daily life, the sight of tags and graffiti makes this phenomenon evident. It is then that the the written word, in terms of its individual letters, dissolves to the point that its legibility is lost and only forms remain. Similarly, the forms of other things and objects bear a particular resemblance to writing. These fluid transitions are not merely just shapes, but possess a sense of meaning that arises from the likeness to text. Through the practice of asemic writing I have discovered a method to generate precisely such transitional forms from writing and image. This is writing without content, performed solely for the pleasure of writing. By making legibility disappear, this principle challenges the way we perceive text and visualise language: it fuses text and image. To this end, I experimented with various techniques, such as changing the direction of the writing, the hand executing it, and the material.
This produced a small collection of signs that can neither be clearly attributed to writing nor to form. It was my intention to use these signs to create an archive of forms that can be used and employed for different creative design processes.
