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Original artwork description
Intimate Calligraphies of Forgetting
Memory with Sacred Letters
Acrylic on canvas / 85 × 65 cm / framed (box frame)
The work proposes a reflection on a deeply personal form of calligraphy, akin to the intimate gesture of journal writing—a writing that, over time, does not preserve itself, but transforms, deteriorates, and becomes obscured. The signs no longer communicate directly; instead, they grow opaque, as if belonging to a forgotten language, accessible only in fragments.
For the artist, handwriting acquires a sacred dimension. The calligraphic gesture is not merely expressive, but connective—linking the self with deep memory and with a form of inner truth that cannot be directly articulated. In this sense, writing approaches those traditions in which calligraphy becomes a meditative practice, an act through which meaning is not constructed, but revealed. Even when distorted, trembling, or uneven, the writing retains this charge, becoming an authentic trace of an inner presence.
This calligraphy is not one of clarity, but of sedimentation. It preserves the traces of a lived moment, yet subjects them to a continuous process of rewriting, in which memory and forgetting act simultaneously. The visual fragments seem to emerge from an inner space where memories merge, compress, and reorganize into unstable signs, suspended between appearance and disappearance.
In this sense, the image becomes a territory of personal time—not chronological, but affective and layered, where past and present coexist and continuously reshape one another. The pictorial gestures suggest precisely this instability: what appears fixed is already in transformation, and what disappears leaves behind an active trace.
The signs acquire an almost archaic quality, like sacred letters drawn from an inner language that has become inaccessible. They no longer record, but evoke. They no longer describe, but preserve—fragmentarily and unstably—the traces of a meaning that cannot be fully recovered.
“Memory with Sacred Letters” thus becomes a meditation on how we relate to our own past—to thoughts and emotions that, once lived, do not remain intact, but are constantly reshaped by the present. In this process, memory is not a faithful archive, but a living form, in which each return rewrites and re-consecrates what we believed was lost.
