Attracted by the visual impact of written, printed, engraved or even fastly scratched up texts or signs, first in the city streets and later on, everywhere I went to, I started registering each piece that caught my attention. The only criteria were my intuition and my eye. After a while I found out that my fascination goes further than just the aesthetic qualities of these “text images”. Their context appears to be equally important. The city nowadays is more than ever before filled up with all kinds of written messages. The chaos they create, by the way they are layered around us, has become an inseparable part of our socio-cultural environment. They are very often a part of the architecture of a given place and thus part of it’s history.


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When reading an inscription on the wall of an old building for example, the observer sees much more than only it’s overt message. What catches my eye are the traces of time, the imperfect composition, the decaying material or the latest hand-written corrections, which often create an intriguing contrast with the style of the original sign. In many cases the verbal message becomes a subject of essential transformations, which lead to it’s total reshaping and finally to it’s conversion into an entirely different form. That is how the “new” composition, which now possesses it’s own aesthetic value, enters the world of contemporary visual culture once again, this time as an artefact – one, which exists on the border of the public domain and the private ownership, mapping the tension between the individual and the society, between the impenetrable personal language and the cliché of common language.


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