“Surrogate” by Amy Irwen (Rosemount, Minnesota, USA)


“Surrogate” – a collage with asemics – by Amy Irwen (Rosemount, Minnesota, USA)


Amy Irwen participated in Asemic Front previously with collabs. Now she has sent a beautiful solo collage with asemic writing which I am thrilled to share. The circular asemics are an excellent structural device as are the text-image relations that make this piece visual poetry as well. Here is a closer look:




And the reverse side:


Amy Irwen 8.21.2018 - 3


And the envelope:


Amy 8.21.2018 - 4



Asemic front poster - 3.11-11

Return of “The Rebecca Type-overs”

7.27.2018 - 6

Asemic Front collab by Rebecca Resinski (Arkansas, USA) & De Villo Sloan (New York, USA)



7.27.2018 - 5



7.27.2018 - 9



Rebecca DVS 7.26.2018 - 1



Rebecca dvs 7.26.2018 - 3a



Rebecca dvs 7.26.2018 - 2



Rebecca dvs 7.26.2018 - 4



Rebecca dvs collab 7.25.2018 - 11

Asemic Front collab by Rebecca Resinski (Arkansas, USA) & De Villo Sloan (New York, USA)



Rebecca 7.24.2018 - 1


Collab foundation by Rebecca Resinski



Rebecca dvs collab - 41



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Vispo X 3 = Richard Canard (remix), Chris Wells, Rebecca Resinski



Richard - 7.21.2018 - 3


“Homage to John Gayer’s Outgoing” by Richard Canard (Carbondale, Illinois, USA)


Richard 7.21.2018 - 11



rich dvs 7.23 - 21


Chris wells 7.23.3018 - 1

Visual poetry by Chris Wells (Columbus, Ohio, USA)



Chris Well 7.23.2018 - 2




Rebecca 7.23.2018 - 1

“Sunlight through trees on water” by Rebecca Resinski (Conway, Arkansas, USA)



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Asemic vispo collabs by Tiina Kainulainen (Helsinki, Finland) & De Villo Sloan (Auburn, New York, USA)

Tiina dvs 7.17.2018 - 1a

Collab by Tiina Kainulainen (Helsinki, Finland) & De Villo Sloan (Auburn, New York, USA)



Tiina 7.16.2018 - 1

Collab foundation by Tiina Kainulainen



tiina dvs 7.16.2018 - 3a1

Collab by Tiina Kainulainen & De Villo Sloan



tiina dvs 7.16.2018 - 41



Tiina dvs 7.17.2018 - 2a

Collab by Tiina Kainulainen & De Villo Sloan



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Asemic Concrete Poetry Collabs by Michael Orr & De Villo Sloan (part 2)

IMG_20180609_0001Collab by Michael Orr (Clarkston, Georgia, USA) & De Villo Sloan (Auburn, New York, USA). Type-over by DVS.



orr dvs 6.9.2018 - 5t1



orr dvs 6.9.2018 - 3a1

Collabs by Michael Orr (Clarkston, Georgia, USA) & De Villo Sloan (Auburn, New York, USA). Type-over by DVS.



orr dvs 6.11.2018 - 11



orr dvs 6.11.2018 - 21



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Asemic Concrete Poetry Collabs by Michael Orr & De Villo Sloan (part 1)

orr dvs 6.8.2018 - 5a

Asemic Front collab by Michael Orr (Clarkston, Georgia, USA) & De Villo Sloan (Auburn, New York, USA)


These snail mail collaborations between Michael Orr and me took a long time as they were scheduled early in the Asemic Front project. I believe they turned out very well as the result of Michael Orr’s contemplation.

For me, these pieces are rooted in the geometry of traditional concrete (typewriter art) poetry. However, they depart into the digital realm showing an evolution in technology (digital glitch images have been integrated). Ironically, these pieces were composed using traditional collage technique (scissors and glue). Granted, some of the outcome is based purely on Michael Orr’s unique and recognizable style. It has been great to be able to work with him.



Orr dvs 6.8.2018 - 2a

By Michael Orr and De Villo Sloan



orr dvs 6.8.2018 - 4a


And a detail study:


orr dvs 6.8.2018 - 5c



Orr dvs 6.8.2018 - 1

Asemic Front collab by Michael Orr (Clarkston, Georgia, USA) & De Villo Sloan (Auburn, New York, USA


Version #2:


orr dvs 6.9.2018 - 1


A detail pic:


orr dvs 6.9.2018 - 2


Asemic front poster - 3.11-11




Asemic visual poetry collab by Laura Ortiz & Donmay Donamayoora

Laura dona - 1Asemic visual poetry collaboration by Laura Ortiz (Toronto, Canada) and Donmay Donamayoora (Connecticut, USA)


Laura Ortiz and Donmay Donamayoora have already made important contributions to Asemic Front. They are welcome contributors always.

Today I am thrilled to be able to present the first Ortiz-Donamayoora collab that has ever appeared on AF. I believe the work is a remarkable success that highlights the talents of both Ortiz and Donamayoora.

They are both receiving much acclaim in the asemic and visual poetry communities. The symbols and structures (asemic syntax), as well as the foundational visual aesthetics, reveal why these two women are so admired. I am very happy to be able to share this piece on Asemic Front. Some detail studies are included as well.




Laura donya - 2By Laura Ortiz and Donmay Donamayoora



Laura donmay - 3



Jan - DVS - 5.31.2017 - 10a

Asemic vispo collabs by Audrey Enough (Canada) & De Villo Sloan (USA)

Audrey DVS 5.20.2018 - 1

Collab by Audrey Enough (Montreal, Canada) & De Villo Sloan (Auburn, New York, USA) for the Asemic Front “Studies in Material Culture Series.”



I am thrilled to have completed these AF collabs with the enigmatic but extremely talented Audrey Enough. We have managed to produce another piece for the “Studies in Material Culture Series” as well. Audrey Enough’s art tends toward the abstract and minimal, which is a perfect match for my own style. I hope we can complete more pieces in the future.








audrey dvs 5.202018 - 3



Asemic visual poetry collab by Audrey Enough (Canada) & De Villo Sloan (USA)



Audrey dvs - 5.20.2018 - 4





Audrey dvs 5.20.2018 - 5a



audrey dvs 5.20.2018 - 6




Asemic front poster - 3.11-11



An asemic writing game (of sorts) by Tiina Kainulainen (Helsinki, Finland)

Tiina 5.18.2018 - 2Asemic game by Tiina Kainulainen (Helsinki, Finland)


Previous Asemic Front collaborator Tiina Kainulainen from Finland created this ingenious piece, a perfect merging of asemics and conceptualism. What would be the constraints, rules and processes of an asemic game? This is a work that invites audience involvement on several levels. At the heart of Tiina’s game is an asemic symbol generator that randomly decomposes the existing alphabet as well as bits of text. Here is the entire set-up she sent:


Tiina 5.18.2018 - 1


Tiina’s game will, undoubtedly, generate many responses in various individuals. I think about game theory when I approach her work. Perhaps an asemic game would have (could have) no purpose but the continuation of a game? An asemic game would have no rules? Or the rules would change each time? Could an asemic game have any true outcome other than the generation of meaninglessness? You see? The interpretive possibilities are very wide. We can learn much from engaging with this game and we can have fun with it as well. Tiina has made a wonderful contribution to the growing asemic canon, in my estimation.



Tiina 5.18.2018 - 3



Tiina 5.18.2018 - 4



Tiina 5.18.2017Asemic writing game by Tiina Kainulainen (Helsinki, Finland)



Tiina 5.18.2018 - 5



Tiina 5.18.2018 - 6




Asemic front poster - 3.11-11

Two New Titles from Timglaset Editions (Sweden) & Faint Press (USA)

Chris - 5.2.2018 - 2Cover of  to let lack by c.r.e. wells (aka Chris Wells) published by Timglaset Editions (Sweden)


Thanks to the extraordinary generosity of the Eternal Network, Asemic Front has received copies of two new asemic-visual poetry editions.

This first edition, to let lack (December 2017), is solo work by USA visual poet Chris Wells and beautifully produced by Timeglaset Editions of Malmo, Sweden. Ably edited by Joakim Norling, Timeglaset is gaining a reputation for publications of high quality and content. Asemic Front has reviewed their books before; and I plan to do more, as their editorial choices tend to complement AF project goals and illustrate my theories concerning asemics and visual poetry.


Chris - 5.2.2018 - 2


to let lack is a slim, collector’s book of four compositions (8 pages). Only 49 copies were produced for the edition, but in this case quality is far more important than quantity. Having lived with the book for awhile, I find myself returning again and again to it with fascination.


Chris - 5.2.2018 - 3Page from to let lack by c.r.e. wells


In previous reviews, I have written about (for lack of a better term) a “school” of visual poetry in the Midwest USA – a geography of cultural production that coincides, strangely, with regions of devastating post-industrial economic contraction and decline. I’ve even called this school Vis-consin out of deference to one of its centers in the state of Wisconsin, although the poets are spread beyond that state.

Anyone versed in the dispersion of U.S. culture knows that movements of significance tend to radiate outward from either the East or West coasts. An enduring avant/post-avant literary movement emanating from the continental interior is a great rarity and, for that reason alone, deserves examination. Additionally, the poets are producing tremendous work.

Members who share this aesthetic and geographic bond have done impressive and groundbreaking work, even when placed on the  competitive global stage. Some notables are Miekal And (Wisconsin), David Chirot (Wisconsin), Matthew Stolte (Wisconsin), Diane Keys (Illinois), C. Mehrl Bennett (Ohio), John M. Bennett (Ohio), Ficus strangulensis (West Virginia), among others. A newer generation is fast emerging.

Chris Wells has mastered a wide range of visual poetics, but his work frequently shows an affinity to this group I have identified. His location in Ohio qualifies him eminently. The pieces in to let lack particularly show the influence of Rust Belt vispo (see the black and white piece above).


Chris Wells - 5.2.2018 - 4



My purpose here is not to outline the poetics of Vis-consin, which I have done at length elsewhere. I only want to make the point that I believe Chris Wells shows the influence of this poetic in a very pronounced way in to let lack. I am referring specifically to abstraction, minimalism in terms of color, organic form (although at root I see Wells as a formalist and you can find formalism in this collection), image-text synthesis, and the presence of asemics. Much Vis-consin work uses a copyart aesthetic that is gritty (industrial), anti-art and distorted. Many of the Vis-consin poets were deeply involved in the copyart movement. In terms of comparison, I see the influence of Matthew Stolte most in to let lack, even though I doubt Wells is making a conscious homage to any of the poets mentioned in this article.



Chris Wells - 5.2.2018 - 5


Visit Timglaset:



Chris - 5.2.2018 - 6Cover of your world hangs by Amanda Laughtland and C.R.E. Wells published by Faint Press (2018)


Next is a pamphlet by Amanda Laughtland and Chris Wells, which was issued by Faint Press in Ohio, USA. Wells’ Faint Press enjoys a relatively high degree of visibility thanks to Chris Wells’ active involvement in the Eternal Network.

your world hangs contains seven visual-textual works. The pamphlet is smaller and more informal than the impressive Timglaset production. The Wells-Laughtland collabs are of great interest and complexity. (Thus the visual presentation would benefit from being larger.) They have many Vis-consin qualities; but ultimately your world hangs is more refined abstract art than to let lack.

The work is far more dependent upon formalist structures than pieces by David Chirot or Diane Keys. Let me be clear – after the reference to abstract art – that I see the collection as a fine visual poetry lyric sequence that functions in a way similar to – say – a crown of sonnets. Is there such a thing as formalist vispo? Indeed, I am convinced there is.



Chris - 5.2.2018 - 7






Chris - 5.2.2018 - 8Pages from your world hangs by Amanda Laughtland and C.R.E. Wells (2018)



Chris Wells - 5.3.2018 - 8a



Chris - 5.3.2018 - 9b



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