Typos in Fracture II (2025)
TYPOS IN FRACTURE II - Free
Antique wooden printing blocks — Letterpress monotype on paper, intervention with modelling paste (2025)
TYPOS IN FRACTURE II - Essence
Antique wooden printing blocks — Letterpress monotype on paper, intervention with acrylic paint (2025)
TYPOS IN FRACTURE II - Resisting
Antique wooden printing blocks — Letterpress monotype on paper, intervention with acrylic paint (2025)
CONCEPTUAL note
In this new series of graphic works, the body, language, and subjectivity are shaped by systems that normalize, edit, and constrain. But here, resistance emerges not from spectacle, but from subtle insistence —from a single letter, a grid, a trace.
— In FREE, every letter originates from the same base form: the letter F. The R and two E’s are sculpted from that origin using red acrylic modelling paste. Red doesn’t decorate —it breaks. It signals excess, interruption,and misfit. The rectangular but slightly vertical format reinforces the struggle for form: everything starts from sameness, but nothing stays pure.
— In ESSENCE, a dense grid of letters hides a semantic field: black letters form words associated with layering, moulding, filtering, and standardization. Terms like mask, grid, frame, layer, norm, cover emerge subtly. They are the words of the system —what edits, conceals, reshapes, modulates.
The word ESSENCE, in red, is dispersed but readable. It is not aligned, but it is found. It does not impose, yet it does not vanish. There’s a logic to its reading: left to right, top to bottom. Essence does not hide —it seeps through.
— In RESISTING, each letter is enclosed in a rectangle, as if language were trying to contain itself. The forms are masked off and drawn with technical markers. Inside each cell: a letter altered, cropped, or sculpted in red paste. Red reappears as fracture —but also as affirmation. The word is not shouted; it is fragmented, yet never dissolves. The horizontal elongated format enhances the idea of movement-within-constraint: uneasy, yet advancing.
These three pieces operate within the same field: one of codification and constraint —but also of betrayal by matter itself. The graphic, the technical, the normed: all are undermined by gesture, intervention, and visual persistence.