Five works by Federico Federici (Berlin, Germany)

By Federico Federici (Berlin, Germany) (June 2017)


I am very pleased to be able to share work by Federico Federici on Asemic Front. I believe he is an innovative visual poet and asemic writer. His photography is often text-centered as well and conveys an asemic sensibility, a way of perceiving the world. These first two works are of great interest to me especially because they combine concrete poetry (aka typewriter art) with asemics. The blending is very natural and seamless. While of course these works are highly original, I see the William S. Burroughs-Brion Gysin lineage in them.


By Federico Federici (June 2017)


By Federico Federici (December 2016)


By Federico Federici (Berlin, Germany) (December 2016)


By Federico Federici (December 2015)


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)


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3.9.2017 - asemic front21

Asemic-Vispo Collab by Matthew Stolte (Wisconsin, USA) & De Villo Sloan (New York, USA)

Matt-DVS - 4.19.2017 - 2Collab by Matthew Stolte (Wisconsin, USA) & De Villo Sloan (New York, USA) (March 2017)


3.14.2017 - 2 - Matt - 2

Collab foundation by De Villo Sloan (March 2017)



Matt-DVS - 4.19.2017 - 1

Collab by Matthew Stolte (Wisconsin, USA) & De Villo Sloan (New York, USA)

Collab foundation by De Villo Sloan (March 2017)


A primary purpose of Asemic Front is to feature some of the exciting asemic-vispo collabs currently being produced. I have long admired Matt Stolte’s work. Many of his pieces have a gritty, industrial, gothic quality that I believe have an affinity to my own pieces (especially the neo-concrete series). So this collab with Matt via snail mail has been a wonderful experience. I am thrilled to share the results.