Without Words VIII 1977

Curator: This mixed-media drawing by Ulfert Wilke, made in 1977, is entitled "Without Words VIII". It strikes me immediately as a field of labor—a meticulous accumulation of marks. Editor: Yes, the interwoven geometric and calligraphic elements are really compelling. It has a definite visual rhythm but, to me, also suggests themes of communication and legibility—or perhaps the *failure* of those things, especially considering the title. What kind of labor do you see represented here? Curator: Well, first there’s the artist’s physical exertion, applying ink and graphite. But beyond that, there is a conceptual effort evident, particularly around mark-making and sign systems—Wilke clearly draws inspiration from calligraphy and geometric patterning, but reconfigures those traditions. So the "labor" speaks to broader cultural production, doesn't it? Editor: Absolutely. When situating it within the late 70s, a period marked by social upheaval and identity politics, it invites a range of interpretive possibilities. It makes me wonder how those forms engage with questions around power, especially the power inherent in creating, erasing, or obfuscating modes of language. Curator: It’s compelling you mention power because, in terms of materiality, there is little ostentation on display. This isn’t gold leaf or sculpted marble—just humble ink and graphite on what looks like paper. What are the processes of the mark-making on the chosen surface? Editor: Yes, but those humble materials are used to great effect. The swirling lines, densely packed, have a chaotic yet structured energy—they make me think about networks, interconnectedness, or perhaps, systems collapsing into abstraction. Curator: True, the effect is powerful—suggesting unseen forces at play. Considering the artwork through the lens of the artist's hand makes it feel almost architectural: blueprints, perhaps. Editor: I agree that that feels like a suitable reading. It underscores art's potential to reflect and refract, particularly in terms of social contexts. Curator: This process feels invaluable: the artist is literally "working through" concepts, which, although abstracted, reflect a conscious intentionality to which the audience now becomes privy. Editor: Definitely a fascinating point. It serves as a great reminder about the capacity art holds for both self-expression and cultural commentary, without ever needing to speak a single concrete "word."