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Poor Heraldix – Exotic Landscape by P. Vector Codierer

Following the ancient Latin notation graffiti names are written and read from left to right. With the upcoming execution of pieces in the early 70s writers set this common practice as standard. Within the last 50 years almost every aspect of shaping letters and designing styles pushed the boundaries of graffiti further and further. It anyway is striking to see that the vast majority of pieces still follow the tradition of horizontal painting, which might is rooted in the given format of the No.1 surface back then: NYC subway trains.

In “Poor Heraldix – Exotic Landscape” the Berlin based writer P. Vector Codierer invites us to take a closer look on the new and challenging possibilities which lay in vertical writing. On 72 pages he constructs tower-like letter buildings using the near full symmetry of the letters in the chosen name EXOT. In the drafts the letters are stacked to tall houses, whose architecture reminds of totems and three-dimensional labyrinths with elaborate ornaments. Stairs, portals, columns, windows, brickwork, roof-like elements and even crowning banners can be found as part of his constructions.

P. Vector Codierer combines a seemingly naive drawing style with avant-garde ideas of writing from top to bottom instead of left to right. The detailed black and white drawings are not sketches to prepare pieces but are artworks of their own kind. The inspirational hardcover book is limited to 300 copies and comes hand numbered and signed the the artist.

LET’S DISAPPEAR! – BUS126

BUS126 is an oldschool writer who belongs to the first generations of the Berlin graffiti scene. Starting in 1986 with primary attempts in the south of Berlin BUS soon became known for his New York and Paris orientated pieces in the early nineties. After a time-out he had a comeback in the 2000s where he dropped into the sphere of avant-garde and trailblazing artists like AKIM and ZASD.

While still painting walls for example along the railway lines BUS126, inspired by new influences, began to break up the borders of traditional stylewriting in his pieces, started working on letter sculptures or let natural forms and structures have affect on his style (as in detail featured in Writing the Memory of the City).

In LET’S DISAPPEAR! he presents a selection of his artistic work since 2007 till 2019. As the title let’s assume the artist did not only made a retraction from public to mainly non-urban, abandoned or at least not easy accessible places and areas, but also dissolves his pieces more and more into abstract forms and spaces. Although in the publication is stated that “style is also extremely different to get rid of”, a personal style still remains even if elements like outlines or concrete letter shapes are hard to make out.

In addition to the 128 paged photo book LET’S DISAPPEAR! also includes a separated 64 paged text book with essays by P. Vector Codierer, ZASD, AKV Stocklosa, Joachim Spurloser and SPAIR as well as a conversation with Markus Mai and Tobias Barenthin Lindblad. While his companions wrote on BUS126 and his work, the talk gets more into depth and focuses on the artists roots, inspirations, style theory, repetition, anti-style and the ability to learn, master and break rules.

Both books come in an individual cardboard slipcase handbuild by BUS126! LET’S DISAPPEAR! is limited to 250 copies only. There will be no reprints so grab a unique copy before someone else does!