Collab by Nancy Bell Scott – De Villo Sloan + NBS Solo Work & Ephemera

Visual-textual collab (version #1) by Nancy Bell Scott (Maine, USA) & De Villo Sloan (New York, USA)


Mail correspondence with Nancy Bell Scott concerning Asemic Front inspired me to attempt a collab piece based on material from the most recent package she sent me, including an amazing peice of paint-spattered wax paper. Most of the NBS solo work haa been previously posted at AF and elsewhere, but I think they are relevant. Furthermore, we have many new visitors, some of whom might not be familiar with the work of Nancy Bell Scott.


Painted-spattered wax paper included in envelope of asemic writing by Nancy Bell Scott (Maine, USA)


Digital re-composition for NBS-DVS collab


“Looking for Home” (2017) by Nancy Bell Scott (remix)


Visual-textual collab (version #2) by Nancy Bell Scott (Maine, USA) & De Villo Sloan (New York, USA)


“Asemic Legend” by Nancy Bell Scott (2017) (remix)


By Nancy Bell Scott (2017) (remix)




Asemic Poetry: “10 Sonnets” by Lucinda Sherlock (Perth, Australia)

10 Sonnets by Lucinda Sherlock (Perth, Australia)


Lucinda Sherlock is receiving, deservedly I believe, much positive attention in asemic and vispo circles these days. She is producing remarkably original asemic calligraphy and visual-textual compositions, including extended works like this artist’s book she sent me. At the same time, she is extending the vital tradition of visual poetry (and now asemics) in Australia.



Inside front cover and title page:



Lucinda Sherlock’s 10 Sonnets is a beautifully crafted artists book and makes a substantial contribution both conceptually and materially to the growing area of asemic poetry. By choosing sonnets, she focuses her notion of asemic poetry on form from a numerical perspective.

Most of the pieces are built around a 14-line structure, although the lines are vertical in some pieces. The shape signifies the sonnet form; but beyond that anchoring, there is little possibility that the pieces can be read in any conventional way. Yet they manage to be “poetic.”  The colours, text-ures and asemic syntax (among other elements) offer a wide emotional landscape for the “reader” and explore the classic terrain of the sonnet in new ways.


10 Sonnets by Lucinda Sherlock




10 Sonnets by Lucinda Sherlock (Perth, Australia)




10 Sonnets by Lucinda Sherlock







The envelope:










Rediscovered Asemics from 2012 by Diane Keys (Illinois, USA) in Kerri Pullo Collection

Asemics by Diane Keys (Illinois, USA) (circa January 2012) from Kerri Pullo collection (remix by De Villo Sloan)


A friend re-discovered this work that Diane Keys sent to Kerri Pullo in 2012, and I am thrilled to be able to share my remix of Kerri’s documentation on Asemic Front. Diane Keys did what I believe to be some remarkable work for the Asemics 16 project at this time. I was not aware of this specific piece – until now. Here is a detail study:




Five works by Federico Federici (Berlin, Germany)

By Federico Federici (Berlin, Germany) (June 2017)


I am very pleased to be able to share work by Federico Federici on Asemic Front. I believe he is an innovative visual poet and asemic writer. His photography is often text-centered as well and conveys an asemic sensibility, a way of perceiving the world. These first two works are of great interest to me especially because they combine concrete poetry (aka typewriter art) with asemics. The blending is very natural and seamless. While of course these works are highly original, I see the William S. Burroughs-Brion Gysin lineage in them.


By Federico Federici (June 2017)


By Federico Federici (December 2016)


By Federico Federici (Berlin, Germany) (December 2016)


By Federico Federici (December 2015)


Eco-Asemics – Written in Stone


Eco-Asemics in Moravia, New York, USA


During the Asemics 16 collaborative book project several years ago, participants discussed many different ideas about asemic writing online. In particular, many pictures of natural phenomenon were posted that suggested language and textuality. They were presented to help define a shared concept of asemics. Either little or no human intervention was involved in these asemic finds, other than the artists seeing the texts/and symbols in nature, a use of imagination.



This type of asemics became so prevalent and interesting in our discussions that they were named: Eco-Asemics. As in this post, the primary means of sharing Eco-Asemics is through photography and video. Certainly other possibilities exist. Eco-Asemics are inherently Found Asemics; however, Found Asemics frequently involve human activity and even human desecration of nature.



Eco-Asemics examines nature and natural processes as removed from the impact of “civilization” as much as is possible. Thus, Eco-Asemics explores the archaic roots of language, symbols and written text as it surely connects to human contact with nature. I construct this definition based on the path followed by artists and writers who become more and more involved in Eco-Asemics. They are drawn often – certainly not always though – toward a reverence for and communion with nature. Many who investigate Eco-Asemics have said they gain insight into the primal origins of language and sign-making. They experience can have a profound impact upon their work.



Note the human presence in this pic:






Eco-Asemics - 6.8.2017 - 4a