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:

 

 

 

Kerri Pullo Unplugged – Featuring Recent Minimalist Pieces (Tucson, Arizona, USA)

By Kerri Pullo (Arizona, USA) (March 2017)

 

In most cases I try to avoid ranking contemporary asemic writers and artists. Kerri Pullo is an exception. I have a tremendous admiration for her work, and I know many others do as well. Her art is very popular. I try to document it often because I am convinced she is one of the most important asemicists working today. She is strikingly original and innovative.

Recently Kerri Pullo has been creating pieces that suggest a vertical “reading” structure. I want to focus on examples in this, her first Asemic Front appearance. These – what I call – vertical pieces (above is a great example) attain a new level of complexity with intricate layers and intertwining script. This recent phase, however, has produced some very stripped-down and relatively minimalist pieces. This entry also focuses on these more economical compositions; they reveal another aspect of her work. Some are process-oriented. I believe they deserve a close look:

 

Kerri Pullo (May 2017)

 

Kerri Pullo (May 2017)

 

Kerri Pullo (May 2017)

 

Kerri Pullo (February 2017)

 

Kerri Pullo (May 2017)

 

Kerri Pullo (May 2017)

 

Kerri Pullo (April 2017)

 

Kerri Pullo (October 2016)

 

Deepest thanks to Kerri Pullo for granting permission to share this work on Asemic Front.

DVS

 

The Numerical Asemic Frontier by Jay Block (Bridgewater, Massachusetts, USA)

By Jay Block (Bridgewater, Massachusetts, USA)

 

I can never decide if Jay Block is a pure materialist or a conceptualist. (I have the same problem with Fluxus generally.) I do know Jay Block is very thoughtful so I try to identify an orientation. This piece suggests to me the largely unexplored land of numbers and asemics. I am not exactly sure what that land is or could be, but Jay exposes a shaft of light from it. (I bet the late Bob Grumman would revel in the possibilities.)

Some asemic writers are using numbers (and decomposed numbers) in their works None that I know of have used mathematical sequences (including random number sequences) to build asemic structures. Great work remains ahead.

 

 

 

Rorschach Asemic Collabs by Jan Hodgman (Washington State, USA) & De Villo Sloan (New York, USA)

Asemic collab by Jan Hodgman (Anacortes, Washington, USA) and De Villo Sloan (New York, USA)

 

I was thrilled when Jan Hodgman agreed to do collabs with me for Asemic Front via snail mail. I believed our styles would gel, but I had to decide on some foundations to send her.

Around the time of the Asemic 16 collaborative book projects (circa 2012), Cheryl Penn (South Africa) and I experimented with inkblots for asemics and visual poetry. We were pleased with the results. That work led us to explore the Rorschach psychological test and how inkblots could be used to tap the unconscious. Based upon my impression of her work, I decided to revisit inkblots with Jan Hodgman: So I made inkblots (red) and used them for the foundations I sent her.

I am very pleased to be able to present the results on Asemic Front. I will leave the psycho-analysis to visitors, but I do believe inkblot pieces function on a psychological level.

DVS

 

By Jan Hodgman & De Villo Sloan

 

By Jan Hodgman & De Villo Sloan

 

When the piece above came back, I decided Jan Hodgman wanted me to give it another layer. The red and black we were using became more and more apparent to me. Then I realized the piece reminded me of the work of the late Berkeley, California artist Susan McAllister. Susan loved red and black; she did extraordinary abstract art in red and black. So I took the liberty of turning this piece into an homage to Susan McAllister (and ran it through a few filters too).

 

“Homage to Susan McAllister” by Jan Hodgman & De Villo Sloan

 

Asemic Front poster remix by Jan Hodgman & De Villo Sloan

 

Fab collabs with Jan Hodgman. Many thanks!

 

Deconstructive Asemics by Wendy Rodgers (Maryland, USA) & Richard Canard (Illinois, USA)

WAR - 5.29.2017 - 7

Asemics by Wendy A. Rodgers (Maryland, USA)

 

The art of Wendy A. Rodgers is known primarily through the Eternal Network, and she has garnered many admirers.  I have written about her work before, focusing on pieces that integrate the decomposition of material “art” and the process of decay. This recent piece, in the form of a large postcard, is more text-centered than previous work. Essentially, I believe Wendy A. Rodgers has presented a brilliant variant on my concept of “Deconstructive Asemics” that was explained early in Asemic Front:

https://asemicfront.wordpress.com/2017/04/01/deconstructive-asemics-by-ficus-strangulensis-west-virginia-usa/

 

WAR - 5.29.2017 - 6

 

I will not speculate about how Wendy Rodgers achieves decomposition in her work. This is not, strictly speaking, Gustav Metzger’s Auto-Destructive Art. Instead, I have compared Wendy Rodgers’ work to the aesthetics of Japanese Gutai; Gutai is well-known in the Eternal Network. Rodgers arrests or suspends the process of decay so that we may contemplate it.

The piece being displayed here functions on a tactile as well as visual level. It has raised contours and appears to be extremely weathered and distressed. As a result, the text has become distorted. That is the center of asemic interest. The art, though, is not crumbling to bits. Here is a view of one side of the card:

 

WAR - 5.29.2017 - 1

 

Here are some detail shots that more clearly reveal the textual distortion through the literal decomposition of the text:

 

WAR - 5.29.2017 - 2

 

WAR - 5.29.2017 - 3

 

WAR - 5.29.2017 - 4

 

Veteran mail artist Richard Canard produces an impressive amount of visual poetry, poetry and asemics. I have also previously written that while Richard Canard is currently recognized as an authentic practitioner of the styles and sensibilities of Ray Johnson’s New York Correspondance School, Canard’s post-avant literary contributions should not be overlooked. I will close with a wonderful example of decomposition by Richard Canard that complements Wendy Rodgers:

 

Richard - 5.23.2017 - 1

Asemics by Richard Canard (Illinois, USA)

 

Richard - 5.23.2017 - 2

 

DVS

 

3.9.2017 - asemic front21