The Lady I long for

My commentary

The first record of my movements with letters and words, whether formal as in ART logo or in search of meaning as in bord poem, is in a  1974 copybook . They were certainly linked to my work in Logo design.  Others followed, such as POESIA eVENTO with its variations or the easel in Jaula da Anta, where the word ANTA can be read. Or even Cartas de Alexandria (Letters of Alexandria), anagram with the names Aristoteles/Nereu de 2009. These and others were classified as Visual Poetry. It makes sense. Does it?

Unlike the construction of logos, The Lady ... had an a posteriori development , in search of a priori intimate options -engagement in art. It is not just a joke, but a quip already manifested in what I've been doing since ever. It is like playing with dolls, in the case of girls (What occurs to me is that, perhaps, a girl toys with a doll in anticipation of her motherhood).

The design for S8, which is still in suspension, and the sequence 1, 2, 3, 4 and 5 show the path of this reflection.

Also, I used a reduction of the original The Lady ..., plus a new poem, in a handwritten letter, to present the audiovisual Deconstrução and Operator and the S8 ou in an exhibition at the Kresge Art Gallery, Michigan State University, USA, 1976

This same variant was used in Rebusteia  (rebus+teia = puzzle+web), which rests the case.

If I can accomplish the original project, the first movement around this idea, it will be merely formal.

_{Gabriel Borba, 2019}