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These works are a small act of rebellion against measure and rules: if machines can quickly and precisely copy our style, our strokes, what makes human action unique? What is it about the creative process that is unrepeatable, unique? In these works, a series of unique pieces are created through the repetition of actions. Each piece arises from the same gestures, symbols, and work steps. It immediately becomes clear: no repetition is the same, each… piece is different from all the others; even if I do the same thing 12 times with the same tools and materials, each result is still unique. Could it be that this is precisely what constitutes a human advantage today? For this series, I assume so and strive to further emphasize the other, inefficient, the irregular aspect.
Lucas Stolz (*1985 in Basel, Switzerland) understands calligraphy as a painterly act. Writing as a developmental process for images in which words dissolve, signs as traces of a body that writes, where it could also paint.
In his work, he explores four fundamental levels of handwriting: the invention and transformation of signs; continuous writing, which, through repetition, makes humanity visible; the development of custom writing tools, that shape the stroke; and the analysis and repurposing of materials from writing cultures, leading to experiments with sand, pigments and wood.
The artist develops tools and techniques that are idiosyncratic, almost defiant. They demand physical effort, they distort, chop, and multiply the stroke—giving it temperament. This process highlights the question of authorship: Who is writing here—the hand, the tool, or the surface?
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UN-2025-Fest-3D
Lucas Stolz
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