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DAIM’s brilliant and complex 3-D-Style – Text

Submitted on 13. May 2007 – 17:12 Email | Print | PDF |

DAIM's brilliant and complex 3D-Styles - Text by Arne RautenbergText: © 2007 – Arne Rautenberg / arnerautenberg.de

DAIM is renowned for his brilliant and complex 3-d-style.

It makes the characters become tangible. They are shifted from a two-dimensional context into our perceptible three-dimensional world. The implication is that they have moved on to the next dimension, one they do not actually belong to. They push and strive for more; they want to be part of the dynamic world. In an almost courageous way, they demonstrate their overpowering skills, they twist within a space of fantastic colour, interlace, tilt – chopped up, they nestle against one another, join systems of arrows (that point outward into the real world), morph into the depth of the room and then out of it again, stretch in between two vanishing points, collapse, burst, tear to tatters, fragment, literally ‘spray away’. And, all of a sudden, the four characters D A I M become something that is abnormal from the strict conventions of typeface, which (to remain legible) is based on a latent uniformity of its shapes.

DAIM’s programme comprises the construction, as well as de-construction of a word (at some point, in between the processes of annealing and erasure, it emerges out of a synaesthetic sphere! And reveals: that it came into being out of nothingness and is always on the verge of disappearing into it again. DAIM- graffitis can be seen as fixed images of a word-formation that is constantly threatening to reassemble, denying access, escaping the demands of tangibility and, thereby, remain free and sovereign.

With every new DAIM-piece, Mirko Reisser takes possession of another piece of the world; and with every new DAIM-piece, the world takes possession of another piece of Mirko Reisser. “Shaping the character of letters and at the same time, discovering one’s own” is his dictum. The character of the letters remains variable, abstruse, in short: ambivalent (and, thus, subversive). In between construction and de-construction, two- and three-dimensions, complexity of shape and simplification of content, between seclusion and an invitation to communicate, Mirko Reisser’s works reveal the unfathomable rift of the world – at the crossing of which the beholder increasingly struggles.


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