Collab by Nancy Bell Scott – De Villo Sloan + NBS Solo Work & Ephemera

Visual-textual collab (version #1) by Nancy Bell Scott (Maine, USA) & De Villo Sloan (New York, USA)

 

Mail correspondence with Nancy Bell Scott concerning Asemic Front inspired me to attempt a collab piece based on material from the most recent package she sent me, including an amazing peice of paint-spattered wax paper. Most of the NBS solo work haa been previously posted at AF and elsewhere, but I think they are relevant. Furthermore, we have many new visitors, some of whom might not be familiar with the work of Nancy Bell Scott.

 

Painted-spattered wax paper included in envelope of asemic writing by Nancy Bell Scott (Maine, USA)

 

Digital re-composition for NBS-DVS collab

 

“Looking for Home” (2017) by Nancy Bell Scott (remix)

 

Visual-textual collab (version #2) by Nancy Bell Scott (Maine, USA) & De Villo Sloan (New York, USA)

 

“Asemic Legend” by Nancy Bell Scott (2017) (remix)

 

By Nancy Bell Scott (2017) (remix)

 

 

 

Asemic Poetry: “10 Sonnets” by Lucinda Sherlock (Perth, Australia)

10 Sonnets by Lucinda Sherlock (Perth, Australia)

 

Lucinda Sherlock is receiving, deservedly I believe, much positive attention in asemic and vispo circles these days. She is producing remarkably original asemic calligraphy and visual-textual compositions, including extended works like this artist’s book she sent me. At the same time, she is extending the vital tradition of visual poetry (and now asemics) in Australia.

 

 

Inside front cover and title page:

 

 

Lucinda Sherlock’s 10 Sonnets is a beautifully crafted artists book and makes a substantial contribution both conceptually and materially to the growing area of asemic poetry. By choosing sonnets, she focuses her notion of asemic poetry on form from a numerical perspective.

Most of the pieces are built around a 14-line structure, although the lines are vertical in some pieces. The shape signifies the sonnet form; but beyond that anchoring, there is little possibility that the pieces can be read in any conventional way. Yet they manage to be “poetic.”  The colours, text-ures and asemic syntax (among other elements) offer a wide emotional landscape for the “reader” and explore the classic terrain of the sonnet in new ways.

 

10 Sonnets by Lucinda Sherlock

 

 

 

10 Sonnets by Lucinda Sherlock (Perth, Australia)

 

 

 

10 Sonnets by Lucinda Sherlock

 

 

 

 

 

 

The envelope:

 

 

 

 

 

 

 

 

 

Rediscovered Asemics from 2012 by Diane Keys (Illinois, USA) in Kerri Pullo Collection

Asemics by Diane Keys (Illinois, USA) (circa January 2012) from Kerri Pullo collection (remix by De Villo Sloan)

 

A friend re-discovered this work that Diane Keys sent to Kerri Pullo in 2012, and I am thrilled to be able to share my remix of Kerri’s documentation on Asemic Front. Diane Keys did what I believe to be some remarkable work for the Asemics 16 project at this time. I was not aware of this specific piece – until now. Here is a detail study:

 

 

 

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.

DVS

 

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.

 

 

 

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.