By the end of the twentieth century the absolutism of the classical typographic order had come to an end.

The new technical device, the computer has revalued the role of written records.

From that time on typography has not only been the carrier of the message

but itself became a message.

It broke free from its two dimensional confinement and acquired illusionistic and "acoustic" spaces for itself.

Art is but an algorhythm made up of lines, forms, colours, motions, and sounds.

The computer is a quick device to create and store these algorhythms.

A clever tool, a manysided "pencil-brush" which, on top of that, has a memory as well.

This tool enables the artist to methodically elaborate a given topic.

The results are the works which carry an adequate message, the rest - hundreds or thousands ot experiments - is deposited in

the cesspool of the computer as sets of digits.

 

There remains the visible and then thou art weighed in the scales.

 

One of the most important forms of visual mirroring is writing which is nothing else but a multitude of pictures, a conversion of the spirit and the visual.

In my opinion the charactersitics of various  peoples' writings are independent visual algorhtyhms.

 

THE LETTERS AND TYPOGRAPHY ITSELF HAVE BECOME THE PICTURE!

 

My computerized graphic works investigate  these characteristics.

They are not merely analyses of visual writing but independent graphic works which

- beside using calligraphic characteristics of various peoples -

are the combinations of my own visual world.