The essence of letter forms in a pure esoteric state
Part2ism letter composition in Stockwell, South London 2013
To draw and design the fundamental outline for any given piece or letter composition, we are focused on the basic understanding of a letters structure, it’s dynamism and nothing else. The basic essence of a blueprint for the conception of any large scale letter production, is usually lost once re drafted and colour is introduced. To replicate the looseness and automatism of the pencil or pen, or even re-produce the energy of that first initial draft is an apex we almost always fail to reach. In many ways a colour scheme is dominated by the characteristics of the spray can tool itself and for this reason, a lot of letter based compositions can easily become institutionalized.
There are countless occasions when I’ve painted and really liked my sketch, only to find the dynamics of the piece completely change when the colour scheme was intended to totally transform the composition. There have been so many times when I’ve felt that, It would have been interesting and challenging to leave the sketch because I preferred the energy more. On this occasion regarding the wall above, I decided that I liked the original biro sketch on paper so much, I would paint this composition in it’s pure reductive form. Sometimes it’s imperative to view such letter based idea’s in their embryonic state, as opposed to viewing such work that’s rendered and camouflaged by technicolor stylings, another discipline itself to the art of hyper-type.
After all, the letters are the very foundation of what is being conducted in these works and creations, so why not let the letters speak for themselves every once in a while? After all, type is the most important aspect here, and the colour or background is merely the ‘decoration’ or ‘architectural jewelry’ of such a stylistic assault. The wall composition above is a semi-complex piece, based on a more basic form than usual, an earlier Part2ism meta-linguist machine. This is a variation of what we could call, ‘a competitive type aesthetic.’ The creation of letter compositions, that are indeed beautiful but simultaneously aggressive and dangerous, with one main objective…. To destroy and level all competition, including our past efforts.