Moroccan Priest - Digital Designs by Artist | Pieter Lategan 2026

 

Digital Image Created by Pieter Lategan 2026

Digital Image Created by Pieter Lategan 2026

Digital Image Created by Pieter Lategan 2026

Digital Image Created by Pieter Lategan 2026

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Narrative Monumentalism - Arch Structure

Digital Design by Artist - 2026

P15

| click here for more on the Stonehedge |

P15

P90

| Stonehenge click here |

P91

Madonna - Vogue | Live at the MTV Awards 1990 | Official Video
| click here for more Vogue - Madonna |

JADE - "Angel Of My Dreams" | 2024
| click here to read more - Sandie Shaw’s “Puppet on a String” |

Discipline: Structural Notes Toward Silent Monumentalism

Title:
Silent Monumentalism — Structural Study (In Progress)

Medium:
Pencil on paper

Silent Monumentalism — Discipline in Practice (P7, P8, P9)

These pages are not drawings of objects. They are exercises in discipline — reducing form until silence, distance, space, proportion, and repetition become the structure itself.

They are not illustrations. They are methods.

---

P7 — Discipline of Form: Start, Duplicate, Resize

P7 – 9:23, 16 Feb 2026

This page marks the beginning of my disciplined process. Here I am not trying to draw a thing — I am trying to begin a way of working.

I start with one simple form. Then I duplicate it. Then I resize it. The drawing is not about what the shape looks like — it is about what happens when the same form is repeated and changed in scale.

For me, this is how form is thought: through proportion, repetition, and order, not through decoration or storytelling.

This drawing is not an image of something. It is a method. By repeating and resizing the form, I remove expression and leave only structure.

This is discipline because I remove storytelling and keep process.
I let method replace expression.

This is one of the core ideas of Silent Monumentalism: form as rule, not image.

---

P8 — A Single Disciplined Form

P8 – 9:23, 16 Feb 2026

On this page, the process is reduced to one structure. There is no reference, no context, no narrative — only the decision to stop. The form stands on its own.

I even write the word “Discipline” at the top — not as explanation, but as reminder.

There is a lot of empty space around the form. This space is not a background — it is part of the work itself. I resist the urge to add more, and the drawing becomes less about line and more about presence.

This is discipline because I stop before the drawing becomes illustrative or expressive. That restraint is exactly what Silent Monumentalism is about for me.

---

P9 — Two Forms, One Distance

P9 – 9:23, 16 Feb 2026

Here I introduce a second form. Nothing else is added except relation.

There are two very simple standing forms — nothing more.
There is a lot of space between them.
I do not try to connect them, decorate them, or explain them.

What matters more than the shapes themselves is their relationship. The distance between them becomes part of the structure.

This is discipline because I let space do the work instead of adding detail.

---

What This Practice Is — in My Words

Here I am not trying to draw things.
I am trying to draw rules.

I treat a form like a unit that I can repeat, scale, isolate, and relate to other units. This is how I think about form: through proportion, repetition, and order, not through decoration or storytelling.

These drawings are not images — they are methods. By repeating, resizing, isolating, and spacing forms, I take away expression and leave only structure.

This is discipline because I remove storytelling and keep process.
I let method replace expression.

This is a main idea behind Silent Monumentalism.

---

What Silent Monumentalism Means to Me

These drawings are not monuments yet. They are how monuments are thought and constructed in thought:

• I use reduction instead of addition

• I use repetition instead of invention

• I use space as structure

• I treat forms as standing presences, not pictures

• I refuse decoration, narrative, and explanation

That is not accidental.
That is discipline.

This is what I mean by Silent Monumentalism —
not decoration, not representation,
but presence through restraint and structure.

---

References

https://pieterlateganstonehedge.blogspot.com/2026/02/pieter-lategans-stonehedge-theory.html
https://pieterlateganart.blogspot.com/2026/01/quiet-monumentalism-structural.html
https://pieterlateganart.blogspot.com/2026/02/silent-monumentalism-mukurob-also-kown.html
https://pieterlategansketchbook.blogspot.com/2026/02/words-pieter-lategan-2026.html
https://pieterlategansketchbook.blogspot.com/2026/02/discipline-structural-notes-toward.html
https://pieterlateganstonehedge.blogspot.com/2026/02/stonehedge-drawings.html

|_28 February 2026_|  The Priest - Pieter Lategan | 2026

Where Silent Monumentalism Begins - Pieter Lategan 2026

 My work begins with reduction. I start from a form, draw it, duplicate it, and then reduce it to find its structure. Through repetition, resizing, and removal, I strip away detail until only weight, balance, and silence remain. I work with fragments, minimal forms, and small shifts rather than finished images. This process is not about style, but about discipline: a way of working that moves across drawing, painting, writing, and spatial work. Silent Monumentalism is the world in which this practice lives, where structure and silence carry the meaning.

This practice exists in a field where artists and writers have worked with reduction, structure, and fragments, including artists such as On Kawara, Ed Ruscha, and Sophie Calle, and writers such as Samuel Beckett, Lydia Davis, and Georges Perec. These are references to a shared territory, not sources of influence.

|_ 19 Feb 2026 12:58 _|

Silent Monumentalism Writing Style - 11 February 2026

 

P 66 - Silent Monumental Writing Style 

66

Ref Peter Lategan
Date 11 January 2026
Place Pretoria South Africa

Apartheid, too much politics

Ann
Phill
Me  tell the story

Phil: I have a discussion with Phil

Sophie ? marked
Dean ? marked

Samantha –  single / casual relationship

Chris – single/ casual relationship
Christian change

What’s going on between me
and him

I still sit on table
and took my last bite of food - This I added (and placed my used serviette in my plate onto the knife and fork.)

he stands at the back of
his chair holding it almost
leans on it

P 67

67

forward with his body

Dean in the kitchen opens the
milk bottle and is busy pouring
milk it a glass he took out of
cupboard

Sophie just walk into the
kitchen and said to Dean the
reason why you never ever will
lose weight is the milk and bread
after dinner

Dean said to Sophie but still
I am around Sophie said
it only for the kids.. Dean said
"realy" Sophie thinks for a few
seconds and said of course then

P 68

68

p 66
p67

Ref Pieter Lategan
Date 8 January 2026
Place Prologue South Africa
Title:

also for your money, and I
can’t work

Samantha sit on the couch and took
off her shoes, complain “my feet
is swollen, I think I am getting
old

Chris laugh “you never to old
to come and join me tonight

Samantha laugh “Chris, you right
but you know I cat at home

Chris said "Bring the cat with”
Samantha said “She hates your
dog”

“Well I will get rid of dog”
Chris said

P69

69

Ref p66 p67 p68
Pieter Lategan
11 February 2026
Pretoria South Africa

I look at him and and he looked
out of the window to lights
in the garden, the curtains
still open

I change to Ann
I looked at the empty plates
and at Samanthas wine glass
which she never touched I
think to myself I have to
give her juice next time. I
saw stand and
Chris still smokes

“What you want to say to me?”
is that I don’t understand am
I right. Phil said

He looked then back to me Ann

P 70

70

Ref Pieter Lategan
Date 11 February 2026
Place Pretoria South Africa
Title: Style: Discipline

Ann just and still look
around on the table
She thinks, then the she
Ann want to say something
but you can see she give it
another thought

Dean put the glass
he smile at Sophie
Then Sophie stands
laughing “I heard of the my two
babies said to each other
the boyfriend don’t like
condoms, Dean then

P 71

71

give him a look

Sophie said to Dean “You daddy”

He then leaned back on to
the pantry cupboard

He folded his hands
over his chest. Sophie
shout loudly out of the kitchen
“We going” and left

walk to the kitchen door

Everybody shouted bye
except Ann. I look up to
Phil

Silent Monumentalism
Pieter Lategan
11 Feb 2026
Pretoria, South Africa
Ref to pages: p66, p67, p68, p69, p70

P 72

72

Ref Pieter Lategan
Date 11 February 2026
Place Pretoria South Africa
Title: Silent Monumentalism

Phil said to her
“I wish I could understand”

Samantha laugh “Bye
Dean!”

Christian looked at Samantha
and Samantha said “Come
over for dinner Chris”

“I will thanks. See tomorrow”

I am  not a small
English to Afrikaans 
dictionary on Ann said

References:

Silent Monumentalism - Process Register February 09, 2026

Basic Structure of My Writing 111 February 2026 21:55 PM

© 2026 Pieter Lategan. All rights reserved.

Silent Monumental Writing Style - 11 February 2026

Silent Monumentalism - Process Register

 

Process Register Entry
Page: P7
Date: p9 February 2026
Time: 9:23
Place: Pretoria, South Africa

This page is not a drawing in the traditional sense.
It is not calligraphy or visual composition.

It is an act of confirmation.

The repetition of my name, the date, the place, and the title Silent Monumentalism functions as inscription rather than decoration.
The lines are not intended to be beautiful or legible.
They are traces of decision-making.

No image represents anything.
The page registers presence.

Within Silent Monumentalism, monumentality is not achieved through scale, material, or imagery, but through persistence and restraint.
Nothing is explained.
Nothing persuades.
Nothing entertains.

The page states only:
I was here. This had to happen. I confirmed it.

Silence operates here as pressure.
Repetition becomes structure.
Meaning resides not in interpretation, but in the act itself.

This page should not be read in isolation.
Its force emerges through accumulation, duration, and continuation.Sketchbook Entry

Page: P59
Date: 8 February 2026
Time: 20:45
Place: Pretoria, South Africa

This page is not a drawing in the traditional sense.
It is not calligraphy or visual composition.

It is an act of confirmation.

The repetition of my name, the date, the place, and the title Silent Monumentalism functions as inscription rather than decoration.
The lines are not intended to be beautiful or legible.
They are traces of decision-making.

No image represents anything.
The page registers presence.

Within Silent Monumentalism, monumentality is not achieved through scale, material, or imagery, but through persistence and restraint.
Nothing is explained.
Nothing persuades.
Nothing entertains.

The page states only:
I was here. This had to happen. I confirmed it.

Silence operates here as pressure.
Repetition becomes structure.
Meaning resides not in interpretation, but in the act itself.

This page should not be read in isolation.
Its force emerges through accumulation, duration, and continuation.

Process Register Entry
Page: P9
Date: 9 February 2026
Time: 9:23
Place: Pretoria, South Africa
Reference: Ref. P7

This page is not an artwork.
It is part of a process register.

The page does not depict an image.
It records a decision.

Lines are used to test pressure —
not to draw,
but to make resistance visible.

Title, name, date, and place form a core.
Everything around them is movement, cancellation, and repetition.
What remains is necessity.

Within Silent Monumentalism, meaning is not constructed through form,
but through restraint and persistence.

Nothing is explained here.
The page thinks out loud.

This entry does not stand alone.
It operates within a growing register of decisions,
anchored to Ref. P7,
that only become legible over time.

The central sketch on this page is not an image but a registration. The repeated lines operate as tests of pressure, resistance, and placement rather than gestures of expression. They are drawn freely, yet governed by an internal discipline of restraint and persistence. My name, positioned within this field of movement, functions not as signature but as inscription — a marker of presence under constraint. The page records a moment where decision-making remains visible, unresolved, and necessary. Meaning is not illustrated or completed; it is carried by repetition, alignment, and refusal to resolve form into image.

a

Process Register Entry
Page: P10
Date: February 2026
Place: Pretoria, South Africa
References: P7, P8, P9

This page is not an artwork.
It is part of a process register.

The page records repetition as discipline.
Two registrations of the same core information appear on the page. They are not variations or studies, but deliberate re-inscriptions. Each tests placement, pressure, and proportion within an otherwise open field. The space between them is active; it holds time, hesitation, and reconsideration.

The surrounding marks do not function as drawings.
Lines are used to frame, cross, and interrupt the text, making the act of registration visible rather than resolved. They indicate resistance and adjustment rather than expression.

By referencing P7, P8, and P9, the page situates itself within an ongoing sequence of decisions. Meaning is not produced through composition, but through persistence and the repeated return to the same essential facts: title, name, date, and place.

Nothing is explained.
Nothing is concluded.
The page holds position.

Update: |_ 28 February 2026 _| Materials Purchases Journal The Priest Pieter Lategan 2026

Words - Pieter Lategan 2026

 Words 

All
over my space
are words
a lot of words   

All these words 
are words 

but the real meaning 
is that all of this 
these words 
are all 

love words.   

Pieter Lategan

Silent Monumentalism

Pieter Lategan — 2026

Sketchbook Entry

Bladsy: P59
Datum: 8 February 2026
Tyd: 20:45
Plek: Pretoria, South Africa

---

Context

This page records a moment of verbal compression.
It does not seek expansion, explanation, or imagery.
Instead, it isolates language at its lowest possible pressure point.

The page functions as a structural note within Silent Monumentalism:
a record of how meaning is reduced until only load-bearing words remain.

Nothing decorative is introduced.
Nothing illustrative is added.
The work stays at the level of necessity.

---

Translation of Written Content (as structure, not poetry)

Refer p59
Date: 8 February 2026
Place: Pretoria, South Africa

Refer to page p58 and time 20:45

On top you have the word All

At the bottom the bottom
you have the word word

What needs to change is
to put the two words on a line

This is to make the poem
just stronger

That two words is the
Love Words

---

Interpretation

This page operates through vertical tension.

Two words are placed apart:

• All — positioned at the top
  
  

• Love Words — positioned at the bottom
  
  

Gravity exists between them.

The act proposed is minimal but decisive:
to place the two words on a single line.

This is not a stylistic adjustment.
It is a structural compression.

By collapsing vertical distance into a line,
the page performs a reduction of space, effort, and excess.

Silence here is not absence.
Silence is load.

---

Why this is Silent Monumentalism

Monumentality is not achieved through scale, image, or material.
It is achieved through restraint.

This page treats words as mass.
Distance as weight.
Alignment as force.

The monument exists in the decision not to add.

Meaning is carried by what remains unresolved between two terms that refuse ornament.

---

Summary (Archival Note)

Page P59 documents a linguistic compression where spatial distance between two words is reduced to intensify conceptual weight. The page functions as a structural calibration rather than a poetic statement.

---

Contextual Resonance (named on the page, not claimed)

• On Kawara — for time-stamped presence without narrative
  
  

• Agnes Martin — for restraint as ethical structure
  
  

• Ludwig Wittgenstein — for language treated as limit, not expression Paul Wittgenstein to his brother Ludwig when he was playing the piano: "I cannot play when you are in the house, as I feel your skepticism seeping towards me from under the door" - Wikipedia
  In my work: Silence becomes structure. My work treats words as material. I remove explanation so that language can stand on its own. Influenced by Ludwig Wittgenstein’s idea that meaning arises from use, I allow words to exist through silence, space, and restraint. This work is not about defining language, but about loving words enough not to force them. Silence is not absence here — it becomes structure. Space becomes meaning. Words become monuments without size.

---

Evaluation

What is working:

• Absolute clarity of intention
  
  

• Severe formal restraint
  
  

• Language treated as material weight
  
  

• No emotional leakage
  
  

---

Refinement

• Nothing needs to be added
  
  

• Repetition of this operation across pages will increase force
  
  

• The unresolved relationship between “All” and “Word” should remain unresolved