{"id":6563,"date":"2025-12-30T17:20:59","date_gmt":"2025-12-30T15:20:59","guid":{"rendered":"https:\/\/www.the-artchronicles.com\/?p=6563"},"modified":"2025-12-31T12:05:59","modified_gmt":"2025-12-31T10:05:59","slug":"braille-perceptual-language-jona","status":"publish","type":"post","link":"https:\/\/www.the-artchronicles.com\/en\/braille-perceptual-language-jona\/","title":{"rendered":"Jona: Braille as a perceptual device in the work of Aldo Gallina"},"content":{"rendered":"\n

When art is read with the hands<\/strong><\/h2>\n\n\n\n

There is a precise moment when one enters the universe of Aldo Gallina<\/a><\/strong>, who signs his works under the pseudonym Jona<\/strong>, and it occurs when one stops looking and begins to touch. His surfaces of iron, wood, aluminium, or resin do not ask for contemplation; they ask to be read. A reading performed with the fingers, not with the eyes.<\/p>\n\n\n\n

Braille, a writing system developed to overcome exclusion from written culture, becomes here an alphabet that invites the sighted to experiment with different perceptual modes. The hand becomes an instrument of thought. As Rudolf Arnheim<\/strong> argued in Art and Visual Perception<\/em> (1954)<\/strong>, perception is already thinking: form does not represent experience, it organizes it. Jona develops this intuition through tactility. If the eye processes visual information rapidly, the hand proceeds sequentially. Knowledge becomes physical and embodied.<\/p>\n\n\n\n

Matter that speaks<\/strong><\/h2>\n\n\n\n

In Jona\u2019s works, every raised dot is a tactile phoneme, a word written into the very body of matter. These sculptures are activated through contact, at the moment when someone agrees to replace visual distance with tactile proximity. The experience is completed through sensory participation, according to a logic that Robert Morris<\/strong> theorized in his Notes on Sculpture<\/em> (1966\u201369)<\/strong>: the artwork not as an autonomous object, but as a field of perceptual relations among body, space, and surface.<\/p>\n\n\n\n

Braille constructs meaning through a grammar of presence and absence. Each dot is matter and void, sign and pause. Tactile reading imposes a temporality radically different from that of vision. Where the eye can gather information simultaneously from an entire surface, the hand must proceed in sequences, reconstructing sense letter by letter, word by word.<\/p>\n\n\n\n

The roots of this work lie in the plastic revolutions of the twentieth century. From Constantin Br\u00e2ncu\u0219i<\/strong>, Jona inherits the idea of the polished surface that seems to invite tactile contact. Works such as Bird in Space<\/a><\/em> (1923<\/strong>) proposed a potentially synesthetic experience of sight and touch. From Alberto Burri <\/strong>he adopts the notion of the surface as a membrane, a site of inscription and memory. In the Sacchi<\/a><\/strong><\/em> of the 1950s as in the Cretti<\/em> <\/strong>of the 1970s, matter bears the marks of time and use. From Lucio Fontana<\/strong> he takes the principle of overcoming bidimensionality.<\/p>\n\n\n\n

A decisive precedent, however, is Lygia Clark<\/a><\/strong>. In her Objetos relacionais<\/strong><\/em> (1976\u20131988), the Brazilian artist had already explored the body as an instrument of knowledge, creating objects that existed only through the act of manipulation. Clark sought a therapeutic and relational dimension through contact. Jona constructs a codified linguistic system, transforming the Braille code into an autonomous artistic grammar.<\/p>\n\n\n\n

American Flag: translating identity<\/strong><\/h2>\n\n\n\n
\"Opera
Jona, American Flag<\/em> (2019).<\/strong>
The work translates the national symbol into a tactile Braille surface, shifting the flag from vision to reading.<\/figcaption><\/figure>\n\n\n\n

American Flag<\/em> (2019)<\/strong> engages in an explicit dialogue with the celebrated Flag<\/em> (1954\u201355) by Jasper Johns<\/a><\/strong>. Johns created a perceptual short circuit: the painted flag was simultaneously object and representation, forcing the viewer to oscillate between recognition of the symbol and analysis of the pictorial surface. As Leo Steinberg<\/strong> observed in 1962, Johns identifies in his subjects \u201cfabricated objects<\/strong>\u201d and \u201csigns<\/strong>\u201d that destabilize the relationship between thing and image.<\/p>\n\n\n\n

\"Dettaglio
Detail of American Flag (2019).<\/strong>
Braille translates the colours and elements of the flag into Italian and English, transforming the visual symbol into a tactile and linguistic structure of reading.<\/figcaption><\/figure>\n\n\n\n

Jona shifts the question from the ontological plane to the epistemological one. His flag is deprived of colour and instead engraved in bilingual Braille, interweaving words in Italian and English: \u201cstar\/stella<\/strong>\u201d, \u201cred line\/linea rossa<\/strong>\u201d, \u201cblue\/blu<\/strong>\u201d. Where Johns problematized the nature of the image, Jona constructs a device of translation. National identity becomes a linguistic exercise, the visual emblem is transformed into a tactile and verbal structure. The flag is no longer an icon to be instantly recognized, but a text to be slowly deciphered.<\/p>\n\n\n\n

This operation generates multiple levels of reading. For those who know Braille, the work offers an experience of recognition and belonging. For those who do not, it becomes a mysterious surface that gradually reveals its nature as a system of signs. For everyone, it introduces friction into the automatic relationship with national symbols. The flag can no longer simply be seen; it must be read, interpreted, translated.<\/p>\n\n\n\n

Within the imagined creation: a mental landscape<\/strong><\/h2>\n\n\n\n
\"Opera
Jona, Nel creato immaginato<\/em> (2018).<\/strong>
Braille becomes a mental landscape, transforming the word into matter and thought into surface.<\/figcaption><\/figure>\n\n\n\n

Nel creato immaginato<\/em> (2018)<\/strong> represents a further synthesis of this research: a black surface crossed by spherical reliefs that compose in Braille the words \u201cterra<\/strong>\u201d, \u201cvento<\/strong>\u201d, \u201csole<\/strong>\u201d, and \u201ccreato<\/strong>\u201d. The work translates cosmic elements into a rhythm of dots, transforming naming into a constructive gesture. Language here does not describe the world; it generates it through the materiality of the tactile code.<\/p>\n\n\n\n

The work enters into dialogue with the tradition of twentieth century cosmogonic abstraction, from Kandinsky<\/strong> to Klee<\/strong>, yet overturns it. Where abstraction sought visual equivalents of the invisible, such as sound or spirit, Jona creates tactile equivalents of language itself. Braille writing, originally conceived to allow the blind to read an already written world, becomes here an instrument for writing new worlds, confirming that for Jona language is not a neutral code to be deciphered, but a body that generates reality.<\/p>\n\n\n\n

Slowness as a method<\/strong><\/h2>\n\n\n\n

Visual perception operates in fractions of a second. We recognize a flag, a face, a symbol almost instantaneously, often with high confidence and low accuracy. Braille reverses this dynamic. Tactile reading requires time, sequentiality, concentration. One cannot simply glance at a Braille text; it must be followed dot by dot, constructing meaning through the progressive accumulation of information.<\/p>\n\n\n\n

This slowness is not a technical limitation but an epistemological quality. It introduces a pause between perception and judgment, between stimulus and interpretation. Jona\u2019s work thus functions as a device of perceptual slowing, creating a space of suspension. Touch does not guarantee privileged access to truth, but restores temporal depth to experience. Aesthetics becomes a critical exercise of attention.<\/p>\n\n\n\n

However, this interpretation reveals a structural limit that the artist himself appears to consciously accept. The work produces full meaning only for those who can actually read Braille, or for those willing to learn it. For the majority of sighted visitors unfamiliar with the system, the experience remains partial. This friction between theoretical and practical accessibility is not a flaw, but a constitutive feature of the work. It highlights how inclusion is not a paternalistic gesture, but a demand for reciprocity, an invitation to step toward the other by assuming their language.<\/p>\n\n\n\n

Braille: a brief history of emancipation<\/strong><\/h2>\n\n\n\n

Before becoming a language of art, Braille was a language of emancipation. Louis Braille (1809\u20131852)<\/strong>, blind from the age of three after an accident in his father\u2019s workshop, developed his system from Charles Barbier\u2019s \u201cnight writing\u201d (1821)<\/strong>, a military tactile code based on twelve dots. Braille\u2019s decisive gesture was one of radical simplification. He reduced the twelve dots to six, arranged in a 3\u00d72 cell<\/strong>, creating a system compact enough to be perceived with a single fingertip.<\/p>\n\n\n\n

This grid, devised in 1824 when Braille was fifteen years old, is a philosophical intuition before it is a technical expedient. It embodies the discovery that touch can organize thought as effectively as sight. The system was officially recognized only in 1854, two years after Braille\u2019s death, but it gradually became an international standard.<\/p>\n\n\n\n

Two centuries later, Jona performs the inverse movement. He uses a language born to overcome visual exclusion in order to question the primacy of the eye in contemporary culture. This is not a matter of one directional inclusivity, but of reciprocity. Those who touch these works renounce distance and accept the responsibility of contact.<\/p>\n\n\n\n

Open questions<\/strong><\/h2>\n\n\n\n

Jona\u2019s work raises questions that deserve to be made explicit. The first concerns institutionalization. How do these works function within museum contexts that traditionally prohibit touch? If tactile experience is constitutive, does a work displayed without the possibility of being touched remain incomplete, or does it become something else, a visual testimony of a denied tactile experience?<\/p>\n\n\n\n

The second concerns the community of reference. Do these works primarily address blind or visually impaired people who use Braille on a daily basis, or sighted viewers invited to experiment with different perceptual modes? The answer is not neutral. It alters the status of the work and its political meaning. Jona appears fully aware of this paradox and accepts it as a productive tension. His works deliberately inhabit this space of ambiguity, refusing to resolve themselves in either direction.<\/p>\n\n\n\n

Toward an epistemology of touch<\/strong><\/h2>\n\n\n\n

By epistemology of touch we mean here a mode of knowledge grounded in temporal sequentiality, bodily involvement, and linguistic decoding, in which meaning is not immediately recognizable but is progressively constructed through contact, time, and learning.<\/p>\n\n\n\n

Within the context of contemporary Italian art, Jona\u2019s work represents one of the few cases in which Braille is appropriated as an autonomous artistic language. His research is situated at the intersection of phenomenology of perception, critique of sensory hierarchies, and reflection on language as a constructor of reality.<\/p>\n\n\n\n

What emerges with particular clarity is the idea of slowness as a critical method. In a culture of images marked by speed, simultaneity, and visual saturation, Jona proposes tactile sequentiality as a form of cognitive resistance. This is not pre digital nostalgia, but an exploration of alternative temporalities. The reading hand introduces pauses, demands attention, and enforces presence.<\/p>\n\n\n\n

This is perhaps the most significant lesson of his work. Perception is not a neutral given, but a political and epistemological choice. To decide which sense to privilege is to decide which kind of knowledge can be made possible, which kind of relationship can be established with the world and with others. In this sense, Braille is not only the alphabet of the blind, but the grammar of a possible perceptual democracy.<\/p>\n\n\n\n

<\/p>\n\n\n\n

\"Ritratto<\/figure>
\n
\n

Jona (Aldo Gallina) is a contemporary artist whose research investigates the relationship between touch, language, and knowledge. Through the use of Braille as a plastic device, his works transform the surface into a field of reading, activating non visual perception and a bodily relationship with the artwork.<\/em><\/p>\n<\/blockquote>\n<\/div><\/div>\n\n\n\n

<\/p>\n\n\n\n

<\/p>\n\n\n\n

\"\"<\/a><\/figure>
\n
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The contents of this website are protected by a Creative Commons license. <\/p>\n\n\n\n

\ud83d\udc48 Click on the image to learn more.<\/p>\n<\/blockquote>\n<\/div><\/div>\n","protected":false},"excerpt":{"rendered":"

An in depth analysis of Jona\u2019s work through the use of Braille as a tactile and linguistic device. 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