Ugljen's stilistic harmony

Bogdan Bogdanović

Vienna, 30 April 2003

Esteemed and dear colleague Ugljen,
I know that, in our craft, it is very rarely the case that drawings and spatial forms find themselves in congruence with the writing and the written, i.e. in a full stylistic harmony, and in your case it is something more complex than harmony. It is the unity of meanings, no matter whether associations point to Arabica, or ancient Hebrew alphabet, or else, going the other way around, to the freshness of some systemic scriptures in statu nascendi…
This also is a kind of a method, thus I have started attempting equalise your constructive nods in wood of concrete with various versions of ”the ancient”, of the Runic alphabet*… Doing it, I very much enjoyed a new reading of the architectural forms-scripts, a reading that skips the conditionality of function and rushes to the spheres of apparently accidentally chosen associative combinations. If I brought into this surrealistic game some more brazenness than it is permitted by modern or post-modern theories– mea culpa.

* Breza, Early Christian Basilica (Germanic runic alphabet), 5-6 century