The work of Mirtha Dermisache is conceived as writing. It was Roland Barthes who included her in the category of ‘illegible writings’, to which the artist herself added that her writing ‘doesn’t mean anything’. With an open and original approach, Dermisache created an expressive language that rebels against the logo or word. Although she gives her graphisms a format that the mind recognises as ‘readable’ (letters, books, texts, postcards, etc.), her asemantic or asemic writing raises the challenge of ‘unlearning’ or the deconstruction of language. Her work is aimed at readers willing to interpret it from personal experience and individual hermeneutics.
In the textual universe of her language of signs beyond the logic of the alphabet, the works in the MACBA Collection come under the category of letters. As in all Dermisache’s work, each piece represents its own universe, as if the artist had started from scratch each time. While she divides her universe of signs into ‘illegible texts’ (where the graphisms are similar to those of the manuscripts), ‘incomprehensible texts’ (formal relationships with mathematics) and ‘legible texts’ (drafts of the creation process), in all of them Dermisache exercises an indecipherable gesture associated with drawing and writing. Frequently described as visual poetry, Roland Barthes, referring to the work of Dermisache in 1971, emphasised the ‘extreme intelligence of the theoretical problems related to writing’.
The objects are intended to have the objective character of industrial products. They are not intended to represent anything other than what they are. The previous categorization of the arts no longer exists.