Stanisława Dróżdża gry z językiem
Language Games by Stanisław Dróżdż

Summary/Abstract: Concrete poetry exposed material and visual aspect of the language. The word was not the exclusive element of the literature anymore. It became the material for other arts, especially the concept art. The concept-shapes by Dróżdż referred to the concept art by their very name. The artist tried to combine the symbol with its meaning or, to use the terms more familiar to the Wroclaw artist, to visualise concepts and provide them with visual shapes, to create ideograms of words. In the year 1977 Stanisław Dróżdż made another important decision, namely he introduced concept-shapes into the gallery space and covered the ceiling, walls and floor of the Foksal Gallery with the letters of the word ‘in-between’. Although it was impossible to read anywhere the entire word of the title, the viewer could feel overwhelmed by this omnipresent word. This installation implied that the human being lives among letters which he collects with great effort in order to compose words that describe his place in the world. Dróżdż wanted to remain a poet. His reference points were Mallarmé and Gomringer. The latter, according to Dróżdż, wanted to make poetry visible. Dróżdż intended to achieve the same goal, namely, to make poetry visible. He did not want to make poetry come closer to visual arts but to make it visible. Therefore he was loyal to the term of ‘concrete poetry’ and he wished his poems to be interpreted in its context.

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