from Wikipedia: Hypergraphy merges poetry (text) with more visual (graphic) ways of communication such as painting, illustration or signs […] Maurice Lemaître, a Lettrist theorist, defined it as an “ensemble of signs capable of transmitting the reality served by the conscienceness more exactly than all the former fragmentary and partial practices (phonetic alphabets, algebra, geometry, painting, music, and so forth).” (from Stephen C. Foster, “Lettrism: A Point of Views”, in Foster ed., Visible Language, 1983, p. 7 

“If one places an abstract composition - which is simply a fragmentary purification of the former object - in (or alongside) a figurative structure, this second composition digests the first one - transformed into a decorative motif - and then the whole work becomes figurative. However if one places a letterist notation on (or beside) a realist “form,” it is the first one which assimilates the second to change the whole thing into a work of hypergraphics or super-writing.” Isidore Isou, “The Force Fields of Letterist Painting” , from Les Champs de Force de la Peinture Lettriste (Paris: Avant- Garde, 1964).

Edition x400 
0.8mm laser-cut stained-black plywood mounted on Heritage Conservation board
61 x 53 cm

If the two centerpieces of the exhibition, Pièce détachée, (2010) and Pavillon Interface II, (2010), are not exactly erotic, they nevertheless evoke a rich and ambiguous tension, instinctually seductive and repulsive. The former consists of an eight foot, open cube armature whose innards are like an asymmetrical web. Remove one element (a bar, a magnet) and the whole web collapses.

Fabulous, obsessive, remix cinema - arbitrary rules govern the montage. A reminder of great work by Matthias Muler, Volker Schreiner, Christian Marclay et al

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