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

 

 

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Rebecca-DVS - 2.12.2018 - 4b (good)

 

 

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

 

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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

 

 

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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

 

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Collab foundation by De Villo Sloan for Rebecca Guyver

 

 

Rebecca-DVS 2.10.2018 - 4 (good)

 

 

Rebecca-DVS 2.10.2018 - 10 (good)

 

 

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

 

 

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Collab foundation by De Villo Sloan for Rebecca Guyver

 

 

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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.

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Cheryl Penn - 2.6.2018 - 2

“Quatern” by Cheryl Penn

 

 

Asemic front poster - 3.11-11

New Asemic Front Collab Starters by De Villo Sloan (Auburn, New York, USA)

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Asemic Front collab starter by De Villo Sloan (New York, USA)

 

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Asemic Front collab starter by De Villo Sloan (Auburn, New York, USA)

 

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By De Villo Sloan

 

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Asemic Front collab starter by De Villo Sloan

 

 

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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.

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By Federico Federici

 

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A last detail study:

 

Federico - 2.4.2018 - 51

 

 

Asemic front poster - 3.11-11

 

 

 

 

 

 

Asemic Art by Norma Soulet (Port St. Lucie, Florida, USA)

Norma - 2.3.2018 - 11Asemic art by Norma Soulet (Port St. Lucie, Florida, USA)

 

Norma Soulet has been developing her asemics in the IUOMA-Ning asemic writing group. I believe we will soon be seeing her participation in Asemic Front collabs.

In the meantime, here is a small sampling of her efforts thus far. Above is a scan (I appropriated) of a solo mail art work by Norma Soulet sent to Carolyn Cline (Colorado, USA). To me, this represents accomplished asemic-vispo.

Below is recent work Norma Soulet sent me. The colour is FAB; we have some very fine asemic abstraction as well. The interjection of Japanese symbols (?) muddies the water a bit, but this kind of approach is hardly unusual.

I am looking forward to more asemics by Norma Soulet!

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Norma - 2.2.2018 - 1

 

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Norma - 2.3.2018 - 2

 

 

Asemic front poster - 3.11-11

“Realism” and Other New Work by Nancy Bell Scott (South Portland, Maine, USA)

NBS - 2.2.2018 - 11 Asemic visual poetry by Nancy Bell Scott (Maine, USA)

 

 

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“Ink Minimal” by Nancy Bell Scott

 

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“Ink Minimal” by Nancy Bell Scott

 

 

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Asemic front poster - 3.11-11