"The best calligraphy might be an apparently casual handwriting, but one made only after years of studying and one capable of truth and honesty."
I think it's important for the artist calligrapher to identify the differences between graphic approach, calligraphic approach and that gestural free approach of handwriting which still does not have a clear definition and therefore continues to borrow names.
Let's try to identify the differences: the graphic approach to calligraphy is the most precise, the one necessary to produce fonts, but also letter carving on stone or drawn lettering. The calligraphic approach is the most typical: the virtuosity of a seductive mark, which attracts for its beauty, its gracefulness, its elegance, and finally the approach of handwriting.
The characteristic of this last approach is its spontaneity and therefore it is the carrier, more than any other, of the gestural natural mark. This approach is recognized and used by contemporary artists because it is the most honest, the fullest in meaning, the closest to the human being. Handwriting, which runs the risk of disappearing but everyone still uses and tries not to loose, is this kind of approach. Daily handwriting is the direct result of the millennial history of writing in which a small portion- Roman time to Renaissance - is that glorious time at which we, Western calligraphers, continue to draw from.
I believe the work of some calligraphers has this last approach, or at least it tries to. It's not easy though. The difficulty lies in the fact that this gesture is totally anarchic, can be made by anybody and therefore, there is no need to be an expert calligrapher to make it. In reality people who know nothing about good handwriting can do it better.
Is there space for research then? Yes, there is!
I remember a video I saw some years ago on the work of Yu-Ichi Inowe, a Japanese Calligrapher who died in 1985 www.japan-art.com . His work, breaking with the past, is the handwriting I'm talking about. His handwriting is so intense, it left me breathless. It is a desperate scream, extraordinarily capable of communicating all its intensity, even to a Western like me, who cannot read any verbal meaning in those screamed marks.
Manfredo Massironi in his article "the pleasure of showing and looking at words" (Codici 1, Thomas Ingmire 2003) says: "The success of calligraphy lies in its ability to completely seduce the viewer - to cast a spell on the viewer by its forms - to gain the total attention of the viewer - to take the viewer away from the text." This explains and directs the calligrapher's work, but handwriting is a step forward because of its honesty. What calligraphy and handwriting have in common, is the space given to the visual component. To my eyes and my soul, this space, in the case of Yu-Ichi Inowe, is totally overwhelming. Pure visual experience which involves all my being.
The best calligraphy might be an apparently casual handwriting, but one made only after years of studying and one capable of truth and honesty. Qualities, these last two, who seem to disappear from daily life all together. It takes courage. It demands questioning oneself and accepting the mistakes of a continuous research.
Monica Dengo