The Skeleton of the Brush
In this series, Friedrich Zettl treats the brushstroke as a structural element. Thick bands, open curves and angular crossings form compositions that can suggest beams or supports without becoming architectural drawings. “Calligraphic Constructivism” describes this emphasis on construction within his own practice.
1. Deconstructing the Character
From Symbol to Structure
The early examples show that structure can take several forms. A long blue-black stroke holds a horizontal sheet together; two yellow-black blossom-like shapes create a more compact balance. Other works set pink vertical marks against dark, angular groups.
2. Edges and Overlapping Forms
Surface and Structure
On smoother surfaces, broad strokes retain sharp edges alongside pooled and translucent areas. The red and ochre composition makes this especially visible: colour bands overlap into a dense mass while the surrounding white ground keeps its outline distinct.
3. The Colors of Geometry
Blocking the Space
Colour contributes weight as well as atmosphere. Pink, brown, red and yellow passages can reinforce a dark stroke or pull the eye away from it. The horizontal works below bring these tensions into a more open, distributed arrangement.
The Weight of the Stroke
Why “Construction”?
The title draws attention to the strength and relationship of the marks. Rather than illustrating a theory, the paintings ask how separate strokes can support, interrupt or counterbalance one another.
Related Portfolio Sections
The wider selection of Gestural Abstraction places these structural works alongside calligraphic, landscape and organic approaches.
For a contrast in rhythm and spacing, see Gestural Calligraphy.
Related articles: Gestural Calligraphy | Organic Abstraction | Experimental Calligraphy
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Available Artworks
Original works are available on FriedrichZettl.com and Saatchi Art
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