Ruud Janssen Typed-Over

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Collab by Ruud Janssen (Netherlands) and De Villo Sloan (USA)

 

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Collab foundation by Ruud Janssen (Netherlands)

 

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Amnesiacs & Asemiacs: Three Pieces by David Chirot

David BC - 12.5.2017 - 11“Cover for an as yet unnamed asemiac book” by David Chirot (Milwaukee, Wisconsin, USA”

 

Asemic Front expands its depth and breadth today with these three asemic pieces by poet, writer and visual poet David Chirot.

AF visitors are likely to be already familiar with the legendary Chirot (also known as David Baptiste-Chirot). I am of the opinion – shared with many others – that he transformed visual poetry in the late 20th century (at a time when it was languishing) and is now a key figure in the post-literature of the 21st century. I am thrilled at long last to be able to provide a platform for his work.

While a master of the image (visual syntax), Chirot’s work has long contained what is now called asemic symbols and texts. In fact, he was among the early asemic pioneers – Jim Leftwich and Tim Gaze come to mind also – who anticipated that asemics and image-oriented visual poetry would merge to become a genre (or subgenre). As a result, Chirot has developed an original and distinctive asemic (anti-)language that, paradoxically, is deeply expressive.

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“Striker rubBEing” by David Baptiste-Chirot

However, despite the fact that he is also a literary theorist of consequence, Chirot has not engaged in the often angry debates about asemic writing that have been so divisive in the international visual poetry community. So I want to make sure AF readers do not assume Chirot is taking positions here when, in fact, I am featuring his work on Asemic Front due to its importance and what I see in it. He has kindly allowed for the presentation of pieces that are fundamentally asemically “purist.”

Indeed, Chirot’s wordplay that I have kept intact – “asemiac” and “asemniac” (amnesiac) – shows a playful or even satirical view of the ever-so-serious subject of asemic writing. While – beyond a doubt – he has an intellectual understanding of the asemic enterprise, Chirot’s iconic “RubBEings” are simply a natural medium for the generation of asemic symbols, syntax and forms. His artistic process produces distortions and deconstructions of the language he finds in his environment and which provides much of his subject matter. I believe asemic conceptualism is simply inherent and thus natural in his work.

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“Asemniac rubBEing” by David Chirot

 

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“Asemniac rubBEing” by David Chirot (remix by DVS)

 

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East Meets West: Collabs by Joey Patrickt (California, USA) & De Villo Sloan (New York, USA)

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Collab by Joey Patrickt (Oakland, California, USA) and De Villo Sloan (Auburn, New York, USA)

 

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Mail art by Joey Patrickt (Oakland, California, USA)

 

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“Smear Cat” – Collab by Joey Patrickt and De Villo Sloan (scanner smear)

 

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“Smear Cat #3”

 

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Mail art by Joey Patrickt

 

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Collab by Joey Patrickt and De Villo Sloan

 

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Mail art by Joey Patrickt (Oakland, California, USA)

 

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“Hyper-Glitched Joey” – Joey Patrickt and De Villo Sloan

 

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Mail art by Joey Patrickt (Oakland, California, USA)

 

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Collabs by Amy Irwen (Rosemount, Minnesota, USA) & David Stanley Aponte (Philadelphia, Pennsylvania, USA)

Collabs by Amy Irwen (Minnesota, USA) and David Stanley Aponte (Pennsylvania, USA)

I am thrilled to be able to share these scans of mail art collabs by Amy Irwen and David Stanley Aponte (aka Subreal Alchemy). Amy and David have combined traditional concrete poetry, visual poetry and asemics to create these highly original and – in my estimation – breathtaking works. I hope we can look forward to more by this team!

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Asemic Remix by Brent Nathan Bechtel (Taylors, South Carolina, USA)

By Brent Nathan Bechtel (Taylors, South Carolina, USA) (2014/2017)

 

Brent Nathan Bechtel is becoming an Asemic Front regular with his innovative and evolving asemic-visual poetry pieces.

I am very pleased to share this work that, Brent reports, is a first foray into what is called at AF a hard copy-digital synthesis piece, combining traditional collage and calligraphy with digital effects. With more digital manipulation than we have seen in the past, Brent Nathan Bechtel has brought increased depth and texture to the work.

I refer to this as a re-mix because, according to Brent, the foundation of the composition was created in 2014. (He clearly had a good run of asemic pieces during that year.) Additional material was recently added and then the digital enhancement. A breakthrough and a stunning piece!

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“Caligrafia” & More Asemic Visual Poetry by Laura Ortiz (Toronto, Ontario, Canada)

“Ancient Knowledge” by Laura Ortiz (Toronto, Canada)

 

Laura Ortiz is producing spectacular visual-textual compositions. She is already highly regarded in the asemic writing community. You can find her work at venues including Michael Jacobson’s New Post-literate and the venerable asemic.net. I am thrilled to share this selection of her work at Asemic Front and look forward to the possibility of posting more of her work in the future.

“Online Caligrafia” by Laura Ortiz

I associate Laura Ortiz with a group – such as Anneke Baeten, Lucinda Sherlock and Kerri Pullo – whom I believe are essentially defining and leading the thriving asemic movement at this time. This contention, however, is limiting. While Laura Ortiz shares commonalities with other artists that seems gender-based and grounded in shared influences, it is her individuality that – I think – makes her work so compelling.

“Untitled” by Laura Ortiz

I wanted to learn more about Laura Ortiz and her work. So I asked her to respond to some questions for Asemic Front. Laura wrote:

“I developed my love for letters from a very young age and always wanted to work in the art field. My father was in advertising. He designed and painted the big billboards that were so central to advertising but which are less common today.

“While I lived in Argentina I studied and worked as a psychologist. When i came to Canada 10 years ago, I decided to follow my heart and in 2007  embarked on a degree in graphic design.

“In 2016 i discovered asemic writing on the web. I became  immediately fascinated by the combination of letters, glyphs, abstract art and design. So I said to myself, ‘Why not!?’ I started exploring, practicing and learning from my fellow artists and I have never stopped since.”

“Slide Show” by Laura Ortiz

I admire Laura Ortiz’s harmonious union of text and image (with an especially brilliant use of color). So I am not surprised to find her lifelong connection to graphic design and advertising going back to her father. (Many asemic writers have studied psychology too.) Her work, however, is also deeply rooted in the practice of calligraphy. These pieces reveal some FAB calligraphy.

While calligraphy is one of her foundations, Laura Ortiz draws on virtually all the conventional sources of asemics such as collage, abstract art and digital aesthetics. (She does not seem particularly partial to found material.) Laura Ortiz brings them together seamlessly and with seemingly infinite variation.

Like much of the asemic writing with which I am most familiar – the type that has emerged in recent years from the mail art network – Laura Ortiz combines both asemics and visual poetry to make her unique compositions. (Laura is not a member of the Eternal Network. She just shares some points in common.) Some asemic purists – I used to call them the “Asemically Correct” – disparage a wedding of asemic writing and visual poetry, although it would seem this position is fading. Laura Ortiz represents a new line of asemic thought.

DVS

“Secrets”

“Water”

“Yellow” by Laura Ortiz

 

 

 

Kerri Pullo in Living Color (Vispo Birthday Part II)

Asemics by Kerri Pullo (Tucson, Arizona, USA)

 

This second installment of the Asemic Front Kerri Pullo birthday celebration focuses on the colorful pieces that were included in the recent package.

 

 

Signature on the reverse side:

 

 

Detail study:

 

 

Asemics by Kerri Pullo (Arizona, USA) (2017)

 

 

And the packaging:

 

 

Classic Kerri Pullo stamps: