I am interested in how literary language transcends the distinction between the verbal and the visual. Many |
of the images we remember have no physical existence. They are evoked by the words of great writers. Our
mind creates them as we read. Each image is unique. It is brought into being as we integrate the author’s
words into our individual life experience. These complex images exist only in the readers mind; the text is
their only material form.
I draw the texts using historically and culturally appropriate typefaces, in a size and format one might
encounter while reading a book. The conjured image is the subject of the drawing.
Ekphrasis may generally be translated as ‚description‘. It originally referred to a vivid evocation of an object
or a situation. Today the term is used to refer to a verbal representation of visual representation (typically,
a poem or a text based on a work of art).
It is sometimes said that a verbal description cannot produce the same impact as a work of visual art. I
would argue that the true ambition of ekphrastic writing is to produce a new work of art, one that does not
bridge the chasm between word and image but remains poised above it.
In my most recent work, I have been expanding on this concept – a sensory experience mediated by
language – by exploring the notion of auditory ekphrasis, of literary language that conveys the effects of
music (or sound in general), as well as of silence.