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The new work of Mohamed Bustan part of a trend that is most important in the development of the current Moroccan calligraphy. This form of art, contemporary calligraphy, abandons any reference to a meaning that would be outside the existing art of calligraphy.
In Bustan the letter itself is contested. This may be difficult to understand. How can you be a calligrapher and refuse the letter? One might think to be a paradox. This is not the case.
It is such thoughts which are currently based on this new art form. Awareness of the limits of any writing frees the calligrapher.His writing, more accurately, creating transarabian letters, Mohamed Bustan creates a form of freedom far more radical than that which existed previously in other Arab calligraphers.
Increasingly, Mohamed Bustan has createed an unseen script. He was born with the birth signs that have nothing else to say except that everything is read and that all readings are infinite. This calligraphy or postcalligraphie, is like a birth taking place before our eyes.
Mohamed Bustan and his works are connected to a place beyond aesthetics, the latter being in the West centered on the sensitivity of the human body and its ability to face some emotional forms. The result is present, but not as a human creation. This new form of calligraphy does not mark a claim to autonomy of the artist who is led by insignificant signs, its interior self is pointing to in its own evolution.
What appears is a new conception of space with the abandonment of circular forms in favor of broken forms living in a tenuous internal color variation. It is in these spaces that fit the letter-signs created by the calligrapher. These letters cover themselves. They may also participate in explosions.
Opposing letters-signs large are broken geometrical forms which hosts small letter signs. The colours, are sometimes gold, but also the opposition is either full or empty.They contribute, not in the sense of the whole, but with its significance. One is then faced with a writing about both contemporary and vital because once universalized ...
Jean-François Clément
In Bustan the letter itself is contested. This may be difficult to understand. How can you be a calligrapher and refuse the letter? One might think to be a paradox. This is not the case.
It is such thoughts which are currently based on this new art form. Awareness of the limits of any writing frees the calligrapher.His writing, more accurately, creating transarabian letters, Mohamed Bustan creates a form of freedom far more radical than that which existed previously in other Arab calligraphers.
Increasingly, Mohamed Bustan has createed an unseen script. He was born with the birth signs that have nothing else to say except that everything is read and that all readings are infinite. This calligraphy or postcalligraphie, is like a birth taking place before our eyes.
Mohamed Bustan and his works are connected to a place beyond aesthetics, the latter being in the West centered on the sensitivity of the human body and its ability to face some emotional forms. The result is present, but not as a human creation. This new form of calligraphy does not mark a claim to autonomy of the artist who is led by insignificant signs, its interior self is pointing to in its own evolution.
What appears is a new conception of space with the abandonment of circular forms in favor of broken forms living in a tenuous internal color variation. It is in these spaces that fit the letter-signs created by the calligrapher. These letters cover themselves. They may also participate in explosions.
Opposing letters-signs large are broken geometrical forms which hosts small letter signs. The colours, are sometimes gold, but also the opposition is either full or empty.They contribute, not in the sense of the whole, but with its significance. One is then faced with a writing about both contemporary and vital because once universalized ...
Jean-François Clément
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