Stanisław Dróżdż is one of the pioneers of the Concrete Poetry genre. In his work, he focuses on the word and space and analyses the reality of language, especially in its visual forms. Dróżdż used words, letters, and other linguistic elements in visual compositions, in a process that drew upon the ideas of the Concrete Art movement. Stanisław Dróżdż’s works have been part of many exhibitions and collections around the world, including the Venice Biennial, Italy; Martin-Gropius-Bau, Berlin, Germany; Stedelijk Museum, Amsterdam, Netherlands; Los Angeles County Museum of Art, USA; Miami Art Museum, USA; Edinburgh College of Art, Edinburg, UK; Contemporary Art Centre Ujazdowski Castle, Warsaw, Poland; National Art Gallery Zachęta, Warsaw; Kunststation Kleinsassen, Hofbieber-Kleinsassen, Germany; Contemporary Museum Wrocław, Poland; Europäisches Zentrum der Kunste Hellerau, Dresden, Germany; Studio d’Arte Contemporanea Pino Casagrande, Rome, Italy; MOCAK Museum, Krakow, Poland; Żak-Branicka Gallery, Berlin, Germany; Art Museum, Łódź, Poland; Ludwig Forum, Aachen, Germany; and many others. 

The work Untitled (Numerical Texts 2) reduces the linguistic element of poetry to an absolute minimum and employs a visual effect to enhance the impact of the word. Dróżdż often borrowed elementary visual forms directly from concrete art, arranging letters in grids, columns, or in other basic visual forms while creating a distinctive new narrative that stressed complexity and expansiveness as means of experimentation in the realm of language. Dróżdż referred to works such as this one as “notionshapes,” a kind of suspension between image and text. Due to the complex process Dróżdż used to create such works, they also became a very particular reflection of the passage of time.