scriptural worlds and virtual architectures
or alphabets ›read‹ according to their livability, like cave paintings
outlines is a project that belongs in those diverse historical and contemporary schools of thought that assign to writing a function different than its usual one. this especially applies to visual poetry, a domain whence an enquiry on the destiny of writing and lettering has always been launched and that today is asking us a new question: typefaces, in their ›calligraphic‹ as well as in their ›typography‹ variants, can become elements of furniture for privates homes or whole cities? and also: what will happen to typefaces once the ›civilization of the book‹ is over, that is, in this very moment? finally, how will writing develop?
in this project, however, writing will become image.
since the beginning of XX century and, increasingly, since the advent of computers, typography has been beating two paths, which constitutes two sides of the same token: the functional and the artistic one. outlines endorses the latter’s reasons, but does not express a judgment whatsoever on the former’s. rather, my hope is that by contributing to a discourse aimed at the autonomy of either approach, light can be shed on positions that are only seemingly in contrast: the more attention will be devoted to one of either ›sides‹ of the token, the better defined will be the other one, as for the very effect of its ›disangagement‹.
this, which is the first outlines’ actualisation, in artistic terms equals to a journey through a number of consecutive blow ups of particulars of fabrics and textures.
a series of graphic superimpositions realised starting from a set of typefaces; or, to be more precise, from a set of typed letters of the alphabet [which I have designed myself].
from paper to architecture, from typesetting to the autonomy of the pure sign, whence stem the visions defining outlines’ whole universe.