This calligraphy form began as a solution to writing text on the vertical edge of a lattice frame. Later, writing vertically allowed adding text to a sculpture without the act of reading immediately hijacking attention. Now Westerners assume the text is Chinese, Chinese dismiss it as Japanese, and the Japanese are invariably polite. At a glance the patterns are foreign, nothing to read here, leaving the left brain quiet.
The five haiku scrolls, minimally simplified for visual composition, are selected from those of Jack Kerouac’s American Haikus that can be read both forwards and backwards. This allows them to be read Western style from left to right or, as in Asia and elsewhere, from right to left.
Asian calligraphy has entranced me since childhood. After 22 years studying Japanese calligraphy with Tsuyoshi Takamori, at the now closed Kampo Cultural Center of NYC, my attention has fully shifted to the practice of my own hybrid, Eurasian, calligraphy.