but only triggers associations of thoughts - for the very reason that his prints are actually not much more than repetitions of words or bits of words or inter-lacing letters or groups of letters or because they are occasionally composed around a single dominating capital letter which seems to sweep the smaller letters away or shrink them to tiny, closely- packed groups - his artistic intentions have even greater play. This sort of letter picture has been impressed upon us since the days of classical cubism: ever since we have learned to read them as signals of a dramatically new form of pictorial exist ence rejecting the illusion of depth and instead presenting the idea of the equality of pictorial ele ments. The signal effect of the letters is turned to natural profit in Rödel's cylinder prints, it is present ed and maintained as a single theme without me thodical rigidity. Our advertising-conscious time provides him with almost universally known symbols contained in all languages, all forms of print, in key words, so to speak, which are interpreted as a picture and not as a piece of text which one would read to oneself in a low voice for better understanding. As a matter of fact, it is their shifted position, their being crowded into the foreground or the background which throws a deliberate veil over the force and logic of advertising. - Does he promote art? The temptation of playing freely with all artistic possibilities is a legitimate point of departure for Karl Rödel who has always been distinguished by a rare talent for subtle and gossamer-like effects. This is the basis on which he proceeds to devise inter woven and interlaced alphabetic symbols, a sort of graphic hybrid and moreover a sort of painted collage, veritable fence posts of print whose strangely aggressive stencils help to ensure the d P w si Ic p w Vi KARL RODEL 30

Gebrauchsgraphik de | 1971 | | page 36