Mixed media, 68 x 88 cm
"Infini" was exhibited for the first time at the academy on the occasion of the Forum of European Calligraphy (exhibition "Links"; as in the sense of connections) in 2011. The fact that this work was made by a calligrapher can easily be seen from the different fonts used in the masterly manner. Infini, i.e. "Infinite", is the name of this work, which has three different fonts and Christian, Roman and Sumerian references. A closer look reveals the Christian element in the nail that goes through the wrist as well as the flowing blood. Garcia depicts the crucifixion scene, and with infinity one of the attributes of God: God is infinite, while creation - man - is finite. Garcia represents a religious motif in connection with calligraphy and his background as a miner (here: through the colouring). The main Latin quotation in the picture is an excerpt from the 2nd book "Transition to the Cosmic" from "De rerum natura" by the Roman poet and philosopher Lucretius Lucretius Carus. Lucretius lived in the 1st century B.C. and was already then philosophizing about the infinity of both the world/universe and human curiosity. "Since infinite space is outside the walls of the world, (...) there is, as I said, no end of things in the universe." "It is the thinking spirit (...) that seeks what more would be there, that it could achieve with the mind's eye." (German version after Max Seidel).
Garcia introduces three alphabets in "Infini". The Latin one in different variations dominates the picture. Sütterlin (a German script used in the first half of the last century) and cuneiform script are added. For his collages he uses materials he finds at flea markets - as can be seen from the handwritten letters in Sütterlin. In the oval behind the arm, fine indentations can be seen, which the expert identifies as cuneiform writing. Alongside Egyptian hieroglyphics, Sumerian cuneiform script is the oldest known writing system in the world. It was used between 3,300 BC and at least 100 AD to write several languages in the Near East.
Vitoriano "Vito" Garcia (*1956 in Forbach, France) often uses iron for his work, which is also reflected in this work (the wood used and the background look like rusty iron in color). A further characteristic of his calligraphy works is their three-dimensionality: here the arm emerges plastically from the work, while the cuneiform writing is authentically carved into the picture. Vito Garcia lives and works in Rouhling, Lorraine. He is a former miner, autodidact and today, he dedicates himself entirely to calligraphy. He gives courses, leads workshops and participates in numerous group and individual exhibitions. His main theme is the rise and fall of the mining industry in his native Lorraine.