“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

 

 

 

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Diane Keys Typed-Over by De Villo Sloan & Other Vispo-Asemic Collabs

Diane Keys typed-over by De Villo Sloan

Collab foundation by Diane Keys (Illinois, USA)

Diane Keys type-over by De Villo Sloan (re-mix)

Asemic-vispo collab by Diane Keys & De Villo Sloan

Asemic-vispo collab (microwaved) by Diane Keys & De Vill0 Sloan

 

 

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:

 

 

 

Collabs by Sa Mue (Bremen, Germany) & De Villo Sloan (New York, USA)

Collab by Sa Mue (Bremen, Germany) & De Villo Sloan (New York, USA)

 

Reverse:

 

 

 

Collab by Sa Mue (Bremen, Germany) & De Villo Sloan (New York, USA)

 

 

 

Starters by DVS:

 

 

 

A Vispo Birthday: New Asemic Writing by Kerri Pullo (Part I)

Asemic writing by Kerri Pullo (Arizona, USA)

 

Kerri Pullo recently celebrated a birthday. Asemic Front is thrilled to share some of her work with the visual poetry community to honor the occasion. Kerri Pullo has the distinction of being an artist-writer who has had a huge impact on the evolving field of asemic writing. She has only been involved with asemics for a relatively short time. From the perspective of Asemic Front, she has become widely recognized and influential.

 

 

This Part I presents more minimal work by Kerri Pullo. (These (relatively) minimal works were explored in an earlier AF blog.) While this is a celebration of Kerri’s birthday, she – alas – generously provided the gift. She sent me via snail mail a package with work that appeared in the previous blog as well as these newer pieces. Asemic Front is already building an impressive Kerri Pullo collection. Deepest thanks! Here is a beautiful (and more complex) piece:

 

Asemics by Kerri Pullo

 

A detail study:

 

These are hard copies of pieces that appeared previously on Asemic Front that were based on digital versions. Wonderful to have the originals!

 

 

 

 

 

Asemic Writing & Visual Poetry by Brent Nathan Bechtel (South Carolina, USA)

“A foreboding sort of scribble” by Brent Nathan Bechtel (2014)

 

Brent Nathan Bechtel is a gifted and prolific visual poet and artist whose range extends to asemic writing. I would guess many Asemic Front visitors are familiar with his work already, although I am thrilled if you are discovering him for the first time here. He was featured at MinXus-Lynxus and Brent Nathan Bechtel’s compositions are – perhaps – even more relevant to the Asemic Front project.

Brent kindly granted permission for me to sift through his photo folders to compile this selection of his work. I had intended to spotlight recent work but found pieces from 2014 that are so significant to Asemic Front that I have included a sampling.

The range of Brent Nathan Bechtel’s work is astonishing and could easily fill at least one hefty volume (books that is). He uses many approaches to visual-textual composition with alacrity. To focus, I have selected pieces that have elements of asemic calligraphy and that are – for the most part – recent. Other avenues of his work should be explored, so I hope Brent Nathan Bechtel will be a consistent contributor to the Asemic Front project.

DVS

“Asemic piece” by Brent Nathan Bechtel (2014)

 

“Trade-off Manifesto” (2014)

How can I omit a piece with a Trahpo vibe and a Diane Keys aesthetic?

 

“And I waited forever” (2017)

 

“Text chop burlesque” by Brent Nathan Bechtel (2017)

 

“Untitled” (2017)

 

“Unbranded Consumable Item” by Brent Nathan Bechtel (2017)

 

“Drawn under my eyes” (2017)

 

“Stairway” by Brent Nathan Bechtel (2017)

 

 

“The Rebecca Type-overs” – Rebecca Resinski & De Villo Sloan Collabs

“Rebecca Type-over #1” by Rebecca Resinski (Arkansas, USA) and De Villo Sloan (New York, USA)

 

I was inspired by Rebecca Resinski’s artist’s book of type-overs using text by the Bronte sisters. So I have had a tremendous time, in turn, typing over Rebecca’s Resinki’s compositions. Much of this was typed on an electric typewriter (Brother ML100 Standard). Thus you have typewriter art by both Rebecca and me. The discerning will recognize, of course, that I used digital filtering on some pieces to heighten typewriter effects and to produce some deconstructive asemics.

DVS

“Rebecca Type-over #2”

“Rebecca Type-over #3”

“Rebecca Type-over #4” by Rebecca Resinski and De Villo Sloan

“Rebecca Type-over #5”

“Rebecca Type-over #6”

“Rebecca Type-over #7”

“Rebecca Type-over #8” by Rebecca Resinki & De Villo Sloan