Jacques Villeglé / L'alphabet Villegléen
Since around 1969, Villeglé has had a real passion for signs, typography, graphic experiments and poetry. This passion gave way to his famous sociopolitical alphabet, a vast repertoire of thousands elements from various world cultures he reinvents and recomposes.
Since around 1969, Villeglé has had a real passion for signs, typography, graphic experiments and poetry. This passion gave way to his famous sociopolitical alphabet, a vast repertoire of thousands elements from various world cultures he reinvents and recomposes. The artist has now a unique alphabet that combines roman letters, political and monetary acronyms, esoteric symbols and other elements from popular culture in a single typography. Usually spray-painted, the messages Villeglé composes are for the first time taking on a more tangible and precious form. The artist has imagined eight obsidian cubes, each face carefully engraved with a sign, to give everyone the possibility to throw the dice and create unique random messages. Produced in an edition of 8, this work can also be seen as a real sculpture that we can activate by choosing the 48 signs that will illuminate our interior.
- 8 cubes of 5 x 5 cm
- 8 numbered copies
- Obsidian carved and engraved
- Publication date
Jacques Villeglé was born in Quimper in 1926. In 1947 in Saint-Malo, he started a collection of found objects: steel wires, waste from the Atlantic wall… in December 1949, he limits his appropriative behavior to lacerated posters. In June 1953, the “Hepérile Eclaté” phonetic poem by Camille Bryen was published, and was made illegible through the weft of glass spray of his intellectual partner Raymond Hains. On the 27th of October 1960, Arman, Klein, Raysse, Tinguely, Hains, Dufrêne, Spoerri and Villeglé sign the constitutive declaration of New Realism, that promulgates “new perceptive approaches of reality” and is anchored in a non-technical art, close to what we find in the street. He takes posters that were lacerated by time or anonymous hands on reserved or wild places, seeing in a blink the part within them that constitutes a natural art piece. Thus, he changes their status. With socio-politic cryptograms and wall graffiti he uses to create an alphabet and texts. These three original silkscreens, taken from his “socio-political alphabet” were printed at Jean Villevieille’s workshop. They are signed and numbered by the artist.
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