THE CELESTIAL SCRIPT

Between visual arts and literature through linguistics and visible signs

Series of Written Drawings, mixed technique on paper, 21,1 cm x 29,7 cm each, 2019

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Series of Visual Writings, site-specific poems, pen on paper, a travel sketchbook, different locations, ongoing

The primal script was revealed to man directly by angels. The Hebrews called it the celestial script “because it was illustrated in the stars”. 

(Agrippa von Nettesheim, De occulta philosophia, 1510)

A. Kircher, observing the combinatory table, which contains the forms of the original letters, states that all of the original letters, like all those descended from them, are represented in terms of their development over time. From them, it can be deduced that the alphabets of all languages reveal traces of the ancient characters. The medium of choice for this project is the relationship between linguistics and visual arts, more specifically between semantics and visible semiotics. The concept this medium explores and (in the final phase) conveys is related to Noam Chomsky’s transformational grammar theories, most recent of which is minimalist program theory: Chomsky and other generativists have argued that many of the properties of generative grammar arise from a universal grammar that is innate to the human brain rather that being learned from the environment.
The series of Written drawings and Visual writings research and question the Visual and the Linguistic, exploring the relationship between the concept and mediums used to convey them. Analyzing the syntax, with emphasis on connections between words and images, these concepts and mediums push the boundaries of sign, symbol, as well as those of drawing and poetry. Considering the characteristics of visible signs cross-culturally, intended both spatially and temporally, this type of presentation calls into question the  provenance from an academic point of view, not failing to challenge current, present-day issues of borders and racism.