New Asemic Writing by Donmay Donamayoora (Connecticut, USA)

Donmay Listening to Red“Listening to Red” by Donmay Donamayoora (Connecticut, USA)

 

 

Donmay - Listen Red detail 2.15.20181“Listening to Red” detail study

 

 

Donmay Burning through Red 2.15“Burning through to Red” by Donmay Donamayoora

 

 

Donmay Murmuration of imaginary characters“Murmuration of Imaginary Characters” by Donmay Donamayoora

 

 

Donmay Monostichs 2.15“Monostitches” by Donmay Donamayoora

 

 

Donmay Monostitch about the Depth of Night“Monostitch about the Depths of Night” by Donmay Donamayoora

 

 

Asemic front poster - 3.11-11

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With aPologies to Vispo by Alicia Starr Ryan (Iowa, USA)

Alicia 2.19.2018 - 1Asemic mail art by Alicia Starr Ryan (Iowa City, Iowa, USA)

 

Alicia Starr Ryan is a very talented visual artist as well as a friend and supporter of the Eternal Network. She is  associated with network visual poetry and asemic writing efforts of recent years. I am pleased to be able to share her work on Asemic Front.

For all the emphasis on theory and method, asemic writers – luckily – are excellent humorists too. They often turn that sparkling wit to satire and parody of the “asemic condition.” This work amounts to a subgenre of great interest and fun. (In fact, David Stafford of New Mexico, USA is making a career of asemic parody.) Most important – I believe – is the gentle reminder we should never take ourselves too seriously!

DVS

 

Alicia 2.19.2018 - 2

 

 

 

 

 

Alicia 2.19.2018 - 3

 

A very attractive package!

 

Alicia - 2.19.2018 - 5a1Asemic visual poetry by Alicia Starr Ryan (Iowa City, Iowa, USA)

 

Asemic front poster - 3.11-11

bLizard of Osz (1-3): Collabs by Osvaldo Cibils (Italy) & De Villo Sloan (USA)

 

Osvaldo-DVS 2.16.2018 - 10006

Asemic Visual Poetry collab by Osvaldo Cibils (Trento, Italy) & De Villo Sloan (Auburn, New York, USA). #1 in a series of 5. (2018)

 

Osvaldo-DVS 2.16.2018 - 10005

Outtake

 

2.15.2018 - 8 0z11

Foundation by Osvaldo Cibils (filtered)

 

Oz-dvs - 2.16.2018 - 6a

Asemic Visual Poetry collab by Osvaldo Cibils (Italy) & De Villo Sloan (Auburn, New York, USA). #2 in a series of 5. (2018)

 

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Outtake of #2

 

Oz-dvs - 2.16.2018 - 8a

 

 

Oz-dvs - 2.18.2018 - master21

 

 

osz dvs - 2.17.2018 - 3-1 finalAsemic Visual Poetry collab by Osvaldo Cibils (Italy) & De Villo Sloan (Auburn, New York, USA). #3 in a series of 5. (2018)

 

osz dvs - 2.17.2018 - 3-5 det2

 

osz dvs - 2.17.2018 - 3-5 det1

 

 

Asemic front poster - 3.11-11

Asemic Visual Poetry Collab by Rebecca Guyver (UK) & De Villo Sloan (USA) (Part I)

Rebecca-DVS - 2.12.2018 main goodAsemic visual poetry collab by Rebecca Guyver (Suffolk, UK) & De Villo Sloan (New York, USA) (2017-18)

 

 

Rebecca-DVS - 2.12.2018 - starter

 

Collab starter by De Villo Sloan for Rebecca Guyver

 

 

Rebecca-DVS - 2.12.2018 - starter2

 

 

 

Rebecca-DVS - 2.12.2018 - 4b (good)

 

 

Rebecca-DVS - 2.12.2018 - 7b

 

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Rebecca-DVS - 2.12.2018 - 10b (good)

Asemic visual poetry collab by Rebecca Guyver (Suffolk, UK) & De Villo Sloan (New York, USA) (2017-18)

 

Rebecca-DVS - 2.12.2018 - 5b

 

 

Rebecca-DVS detail good

 

Rebecca also created special Asemic Front stamps for this collab:

 

Rebecca-DVS - 2.12.2018 - AF stamp

 

 

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Asemic front poster - 3.11-11

 

 

Asemic Visual Poetry Collabs by Rebecca Guyver (UK) & De Villo Sloan (USA) (Part II)

Rebecca-DVS 2.10.2018 - 3

Asemic visual poetry collaboration by Rebecca Guyver (Suffolk, UK) and De Villo Sloan (New York, USA) (2017-18)

 

I am thrilled to have been able to complete three Asemic Front collabs with Rebecca Guyver in the UK. She added textures, colors and depth that give my foundations resonance I had not thought possible. To me, the completed pieces reference medieval illustrated manuscripts and/or William Blake’s illustrations. I am sure they will spark other associations as well.

I was curious how she achieved these spectacular effects. Rebecca Guyver responded, “They are simply scanned and painted on. I think I might have stamped on one or two with stamps I made using buttons. It’s layered and crumpled when wet, unfolded, painted on again, etc. then dried and sewn on. No plastic, unless you see some on it that I sewed on. If I did I would have glued it first. I can never remember work when I’m done…”

Rebecca Guyver is a wonderful Eternal Network participant. I have enjoyed being part of many projects with her. Asemic Front might well be our best shared effort thus far. Many thanks.

DVS

 

5.21.2017 - 2 - collab foundation dvs

Collab foundation by De Villo Sloan for Rebecca Guyver

 

 

Rebecca-DVS 2.10.2018 - 4 (good)

 

 

Rebecca-DVS 2.10.2018 - 10 (good)

 

 

Rebecca-DVS - 2.11.2018 - 1a

 

 

Rebecca-DVS 2.10.2018 - 7 (good)

Asemic visual poetry collaboration by Rebecca Guyver (Suffolk, UK) and De Villo Sloan (New York, USA) (2017-18)

 

 

Rebecca-DVS - 2.10.2018 z

Collab foundation by De Villo Sloan for Rebecca Guyver

 

 

Rebecca-DVS 2.10.2018 - 16

 

 

 

Asemic front poster - 3.11-11

Two Asemic Poems by Cheryl Penn (KwaZulu Natal, South Africa)

Cheryl Penn - 2.6.2018 - 1“Asemic Sonnet” by Cheryl Penn (South Africa)

 

I am thrilled to be able to present these two spectacular asemic poems by Cheryl Penn. The Asemic Front would not be complete without her involvement, and I hope we can look forward to more contributions from her before the  project ends.  I extend my deepest thanks to her for sharing this work.

Cheryl Penn is a book artist, painter and visual poet whom I assume is well known to the Asemic Front audience. (If you are not familiar with her, I suggest you take some time and explore. I firmly believe she is one of the most important visual poets working today, especially in the asemic realm.)

In particular, among numerous important projects, Cheryl Penn coordinated the Asemics 16 collaborative book project, a massive effort on a global scale that significantly helped infuse the current asemic movement into the international mail art network. In fact, many Asemic Front participants first learned about asemics and/or have been deeply influenced by Cheryl Penn.

Asemics 16 contributed to a particular type of vispo-asemic hybrid that I believe is a recognizable subgenre today. Certainly much of the work you see on Asemic Front has roots in Asemics 16. A number of artists who started in Asemics 16 are our vispo “stars” of today. (I won’t make them blush by naming them, but you might be surprised by how many of them there are.) It is certainly a great privilege for me to continue to work with these talented people.

Again, thanks to Cheryl Penn. I look forward to sharing more of her work on AF.

DVS

 

Cheryl Penn - 2.6.2018 - 2

“Quatern” by Cheryl Penn

 

 

Asemic front poster - 3.11-11

Asemic-Concrete Text Hybrids by Federico Federici (Berlin, Germany)

Federico - 2.4.2018 - 1By Federico Federici (Berlin, Germany) (2018)

 

Asemic writing and visual poetry are inherently connected, and the relationship is symbiotic. Thus it is not at all surprising that typewriter-generated concrete poetry (ironically considered by some to be obsolete) is re-emerging in new forms and with considerable vitality in the asemic writing movement.

Federico Federici is one of the master practitioners of this interesting sub-genre. (He is also contributing to my long-held theory of Neo-Concretism.) That contemporary asemic writers and artists should benefit from the triumphs of the “Golden Age” of concrete poetry is, after all, an indication of healthy cultural evolution: a balance of tradition and the iconoclastic.

Here is a detail study from the initial piece:

 

Federico - 2.4.2018 - 21

 

Working in the context of concrete poetry, Federico Federici uses type-overs (as well as some calligraphy) to generate asemic symbols and structures. I believe this is one of the most promising possibilities for the use of concrete poetry in the asemic realm: The generation of symbols and structures.

Federici also interjects words – mostly nouns – to allow for some degree of “reading” and association. A nature theme emerges: “TREE,” “weed,” “wood,” “leaf,” “deer,” “stone,” etc.  The work can be read, but not strictly in a conventional sense. For instance, traditional syntax is lacking yet the sign-system is intact for individual words. Poetically, the work presents a severely fractured pastoral lyric that is neither highly Romanticized nor parodied.

The typewritten structure suggests linearity; however, I believe the piece requires a “depth-of-field” reading. (Both asemics and vispo require new kinds of reading.) One is directed to look into and through the dense layering (not across).

Federici’s asemic-concrete composition implies, I believe, that a “text” is a dense field of accumulated meanings. Meanings can be distorted, obscured or disrupted by others. Emotional response competes with rationality. Linear (conventional) reading is misreading and misleading. True understanding of the text involves seeing into its depth and layers of possibility. The play of these layers of meaning, in turn, creates new meanings.

Federici’s work, indeed, uses a randomness principle. The precise geometry of concrete poetry obscures the randomness and creates a deconstructive tension in the work.

The asemic text demands a new kind of “reading” and finding meaning. Federico Federici’s work helps open new possibilities.

DVS

Federico - 2.4.2018 - 3

By Federico Federici

 

Federico - 2.4.2018 - 4

 

A last detail study:

 

Federico - 2.4.2018 - 51

 

 

Asemic front poster - 3.11-11