Deseret Haretatik

Described as the method of the “writing from the beauty of simplicity… through which extinguish the significant ambiguity of words”, the Mormon alphabet Deseret was inspired, like the majority of the linguistic experiments of the mid-19th and early 20th century, by Isaac Pitman’s phonographic study, whose system was based on geometry. Thus, the characters were formed through circles, semicircles and straight lines strictly placed horizontally, vertically or diagonally: geometry presented as writing and hence, Lacan will observe, as murder of the experience.

The project starts from the distance that separates the representation as fiction that accounts for this structuring emptiness of the actual language. A duality that necessarily induces an itinerary through the archeology of signs of certain discreet linguistic experiments, whose origin we could situate in the Byblos, writing barely deciphered to this day, and, nevertheless, core of the Greek word “biblion”, which means book, and hence, writing, Bible.

This journey through the archeology of signs places me before the Ha-Ha Wall, an element of containment in the landscape that reduces visual obstruction to a minimum. Cunning modesty to attenuate the impact of relentless security measures, where its most ferocious exhibition is to be found in the asylums of British influence, preventing the escape of patients whilst a democratic view of the centers was offered, voiding the sensation of captivity.

Its own structure reveals an intention that refers us to the paradoxical character of its presence, suggesting to me a dialogue between the light and the shadow through which discover other possibilities previously blinded by the function.

This intervention is carried out in a borderline space in Utah, Mormon territory, and surrounded by thousands of bombs, buried by the most exacerbated fanaticism.

 

Deseret Haretatik

Deseret Haretatik

Deseret Haretatik