Page 81 - B-ALL 9

Miró escapes from reality and sets course for the infinitely large and empty spaces of the constellations.
He puts into shapes his personal hieroglyphs through geometry of points, of curves, lines and volumes. He creates his imaginary gardens giving equal importance to both small and large items.
Miró explains - «A grass blade is as graceful as a tree or
a mountain» and he gradually sets up a very personal language «based on details”.
There is a real relationship between his symbols and the Asian ideograms. His signature is itself an ideogram, a painting in the painting he often used for posters, book covers, illustrations or even hidden in the heart of his works in coded messages.
B-ALL