The exhibition title is not merely metaphorical, but refers precisely to an aesthetic topology of circulation, superimposition and acoustic-visual recoil, in which signs no longer communicate, but rebound, overlap, distort or disintegrate - and thus become readable anew or consciously fade into illegibility.
Painsi‘s visual practice is also related to the visual poetry of the post-war period, particularly that of Henri Chopin, Paul de Vree and Bob Cobbing - positions that freed writing from its ties to legibility and transformed it into tonal, rhythmic, typographic image systems. But Painsi goes beyond these formal experiments: he materializes the de-structuring of language itself, not in typographic abstraction, but in concrete physical pictorial practice.