In Transliteration using International Phonetic Alphabet text and graphical elements such as a grid and gradations of lines I am trying to capture an ephemeral quality of sound and intimacy of a conversation.

The numerous subtle marks on black paper and elaborate typographical arrangements engage the viewers with the work visually and then persuade them to try to decipher phonetic bilingual text but the IPA obstructs the reading process; the text is coded. The viewer is looking for familiarities in the text but to break the code he/she must produce the sounds out loud and hearing their own voice decode the narrative.

Often the text is based on bilingual conversation where one person speaks Polish and the other understands the language but chooses to answer in English (passive bilingualism). The person, who can only understand one of those languages, decoding the key of IPA, can still pronounce correctly the words in the unfamiliar language and is therefore able to speak it without semantic understanding.

The image produced is designed to be visually stimulating, the text appears in different colours and sizes to captivate the viewer and navigate the reader through the text/page in a less conventional way. In this experimentation I am curious as to where the border between the text as potential sentence and the text as a visual image lies; when do we stop the process of reading and start instead looking at the text as an object.

The work focuses on looking and seeing the text and the process of decoding. The narrative in the text is not the most important aspect of the work but the process of being excluded and then finding the key to it. This is what creates then releases the tension of the piece as one experiences the intimacy of a conversation, which is still never fully revealed.

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