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.



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.



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:


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




3.9.2017 - asemic front21

Structural Asemics by Jurga Sarapova (Vinius, Lithuania)

“Plants already have plans” by Jurga Sarapova (Lithuania) (February 2017)


Jurga Sarapova of Lithuania produces art – outsider, primitivist with roots in folk tradition – that also has resonance as highly distinctive visual poetry and asemic writing. Saraprova integrates abstraction rooted in textual-linguistic structures with visual images. Highly prolific, her work sometimes suggests the informality and associations of an artist’s journal and are organic; in other cases, however, it reference printed book pages, conventions of graphic design, geometry, fragmentation.

The pieces constantly make the viewer aware of the representation of language on the page. They are asemic because, most often, they cannot be “read” in a conventional way; but they draw upon visual structures of language. In fact, Sarapova’s work is a fascinating exploration of language structure, paradoxically removed from the process of making meaning on the level of the sign and sentence. Here is a piece that is especially textual:


“Find fault” by Jurga Sarapova (April 2017)


While the work is deeply interesting as an intellectual investigation of language, Jurga Sarapova’s fluidity of composition, the childlike simplicity of images and effortlessly organic unfolding upon the page make the work engaging and joyful. Her pieces lack the pedantic, grammar book quality of some asemic writing.


“Bird feeder and creeper” by Jurga Sarapova (January 2017)


Jurga Sarapova’s asemics are based on graphemic-suggestive units (or possibly glyphs). They are delicate, unique and advance through variations. They are sometimes placed in linear patterns where a particular graphemic unit is repeated. These base structures do not signify other than to suggest an (imaginary) language. These progressions equate to an asemic syntax and relationships among the simplest units. The smaller units are often grouped together in larger units that appear like paragraphs (or pages of dense writing). The emphasis on structure, linearity and text blocks invokes written representations of, primarily I think,  Western (European-based) languages and/or specifically Lithuanian, Russian and even Sanskrit that are likely familiar to Jurga Sarapova. The next piece integrates conventional, found text:


“Gazette” by Jurga Sarapova (April 2016)


“Barefoot with roots” by Jurga Sarapova (January 2016)


“Old garden, new spectacles” by Jurga Sarapova (January 2017)


“pen6cil” (sic) by Jurga Sarapova (April 2016)


“Poppy essay” by Jurga Sarapova (May 2017)


“Meet the requirements” by Jurga Sarapova (April 2017)


Many thanks to Jurga Sarapova for generously sharing her work with Asemic Front.




Asemic Collabs by Osvaldo Cibils (Trento, Italy) & De Villo Sloan (Auburn, New York, USA)

Collab by Osvaldo Cibils (Italy) and De Villo Sloan (USA)


By Osvaldo Cibils & De Villo Sloan


Collab by Osvaldo Cibils & De Villo Sloan (glitched)


Collab by Osvaldo Cibils & De Villo Sloan


Collabs by Osvaldo Cibils & De Villo Sloan




Asemic Art by Sabela Bana (A Coruna, Spain)

Asemic art by Sabela Bana (A Coruna, Spain)



Spanish artist Sabela Bana is a member of the asemic writing group at the IUOMA. She mailed these wonderful pieces for Asemic Front. Some choose to call asemic writing asemic art, and in these works by Sabela Bana you definitely see the connection to abstract art. The element of calligraphy is also pronounced and the unconscious forms that emerge in automatic writing.