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Embossed prints, on Eskulan paper, with accompanying text sheet. Signed, dated, and numbered. Co-published by Dorothea van der Koelen, Mainz and Edouard Weiss, Paris. Literature: Van der Koelen, Dorothea and Martin (eds.): Günther Uecker - Opus Liber, Directory of Bibliophile Books and Works, Mainz 2007, Cat. No. L 0203, ill. pp. 507-511. // Graphein III, Ahirom von Byblos transforms Gunther Uecker's signature nail aesthetic into a meditative exploration of ancient script. Raised punctuations on pure white Eskulan paper evoke the Phoenician inscription from the Ahirom sarcophagus, one of the earliest alphabetic texts known to history. The entirely white, tactile surface converts language into rhythm and texture, each embossed mark hovering between legibility and abstraction. Accompanied by a text sheet and printed in an edition of 120, this 2002 work bridges Uecker's ZERO-group roots with the archaeological origins of written communication.
Graphein III, Ahirom von Byblos, 2002
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70 x 50 cm
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Details
Artist
Styles
Embossed prints, on Eskulan paper, with accompanying text sheet. Signed, dated, and numbered. Co-published by Dorothea van der Koelen, Mainz and Edouard Weiss, Paris. Literature: Van der Koelen, Dorothea and Martin (eds.): Günther Uecker - Opus Liber, Directory of Bibliophile Books and Works, Mainz 2007, Cat. No. L 0203, ill. pp. 507-511. // Graphein III, Ahirom von Byblos transforms Gunther Uecker's signature nail aesthetic into a meditative exploration of ancient script. Raised punctuations on pure white Eskulan paper evoke the Phoenician inscription from the Ahirom sarcophagus, one of the earliest alphabetic texts known to history. The entirely white, tactile surface converts language into rhythm and texture, each embossed mark hovering between legibility and abstraction. Accompanied by a text sheet and printed in an edition of 120, this 2002 work bridges Uecker's ZERO-group roots with the archaeological origins of written communication.
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