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 is a way of writing that trusts silence as structure, repetition as gravity, and simple language as presence. It does not explain; it stands. The white space on the page is not absence but architecture. Words are pared down not to weaken meaning but to sharpen it — so that each one carries weight like a quiet pillar in the landscape of the page. This style invites readers to slow down, to return, and to feel what is unspoken between lines. It is a monument built not with stone, but with stillness.




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

The instruction is not expressive.
 It is engineering language.

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

These names mark alignment, not influence.

Evaluation

What is working:

  • Absolute clarity of intention

  • Severe formal restraint

  • Language treated as material weight

  • No emotional leakage

The page does exactly what it sets out to do — nothing more.

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

Do not explain this further elsewhere.

Let the sequence carry it.

Closing Note

This page should be read as part of a slow accumulation.
 Its strength lies in duration, repetition, and refusal.

Meaning is not delivered.
 It is carried.

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