Handwriting and ornamentation have always fascinated me. From the very first years in elementary school, I enjoyed working with letters, calligraphy and patterns. For as long as I can remember I have liked the idea of practising a particular skill, be it music, drawing or calligraphy. The aim was, and still is, to obtain a steadily better result.
After several years of education and training in calligraphy, I take just as much pleasure in practising various signs and letters. What gives me the greatest pleasure is to observe, after several pages of writing, that a word or a line stands out from the context and functions as a calligraphic whole. The variations in a stroke of the pen or in a letter may be impossible to detect to an untrained eye, whereas a good craftsman will spot the differences in suppleness, proportions and structure.
The beauty in calligraphy lies in the simple, clean strokes, the rhythm in a line, the proportions in a book page, the dynamics in the letters as they flow organically down an unused page, the tension between light and dark in a text block, the sound of the nib as it touches the paper, and the harmony one feels between hand, word and text in the writing process.
Lilies of the Field. Matthew 6: 28-29
Print from lace, embroidery and pen drawing. Hand-made paper, vellum, silk and linen fabric, gouache, pearls and gold leaf, metal nib, 23.5x75 cm, 2010
Praise the Lord (The Harp)
Calligraphy on vellum, 17x30 cm, 2008
Veni Sancte Spiritus. Text from Taizé
Vellum, Talens gouache and gold on gesso base, Brause metall nib, 18x30 cm, 2008
"He Wishes For The Cloth Of Heaven...". A poem by William Batler Yeats
Watercolor, collage and calligraphy, 26x51 cm, 2008
Snow Spruce Forest. Text by T. Vesaas
Watercolor and calligraphy. Paper, metal nib, watercolor, diluted Sumi ink and white gold on gesso base, 18x58 cm, 2008