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Visual poetry and rhetoric

Along with the use of color, visual poetry and rhetoric are essential contributions of graphic design to OTTSTUFF's creative language. The search for an autotelic aesthetic experience, originated through playing, means both the starting and ending point for the artist: the creative process is an end in itself.


The use of certain literary figures such as the anaphora, constitutes a meeting point between the languages of graffiti and graphic design. Other literary figures such as the prosopopeia, metonymy or synecdoche, are recurrent given the intrinsic human morphology of the main icon. Throughout OTTSTUFF's work, the icon evolves as a liquid rhetorical element, whose deep understanding and advanced reading requires repeated encounters with different artworks, thus establishing a link, a sense of continuity that characterises iconographic post-graffiti. Also, the public space acquires a fundamental semantic value in his work, completing the meaning of the piece, and acting just as an important compositional element.


About visual poetry.


Visual poetry develops nonverbal poetics, closely linked to graphic design and typography. Among its antecedents, ancient calligrams such as “The Egg”, by Simmias de Rodas, stand out for ther precocity. Throughout the 20th century, visual poetry was greatly influenced by avant-garde poetic movements, such as concretism, surrealism or lyricism, which focused on the visual and plastic aspect of letters, far beyond their value as linguistic signs.


About visual rhetoric.


Widely used in graphic design and visual communication, visual rhetoric channels stimulations of verbal origin in images, being considered as an exercise of pure imagination. The goal is to evoke figurative meanings, implicit ideas derived from the analysis of the context and the symbolic relationships between its elements, rethinking literary figures through the semiotics of the image, and exploring the expressiveness of non-conventional forms through creative play. An effective visual rhetoric requires extensive knowledge of visual language.