Collabs by Sa Mue (Bremen, Germany) & De Villo Sloan (New York, USA)

Collab by Sa Mue (Bremen, Germany) & De Villo Sloan (New York, USA)






Collab by Sa Mue (Bremen, Germany) & De Villo Sloan (New York, USA)




Starters by DVS:




Asemic Writing & Visual Poetry by Brent Nathan Bechtel (South Carolina, USA)

“A foreboding sort of scribble” by Brent Nathan Bechtel (2014)


Brent Nathan Bechtel is a gifted and prolific visual poet and artist whose range extends to asemic writing. I would guess many Asemic Front visitors are familiar with his work already, although I am thrilled if you are discovering him for the first time here. He was featured at MinXus-Lynxus and Brent Nathan Bechtel’s compositions are – perhaps – even more relevant to the Asemic Front project.

Brent kindly granted permission for me to sift through his photo folders to compile this selection of his work. I had intended to spotlight recent work but found pieces from 2014 that are so significant to Asemic Front that I have included a sampling.

The range of Brent Nathan Bechtel’s work is astonishing and could easily fill at least one hefty volume (books that is). He uses many approaches to visual-textual composition with alacrity. To focus, I have selected pieces that have elements of asemic calligraphy and that are – for the most part – recent. Other avenues of his work should be explored, so I hope Brent Nathan Bechtel will be a consistent contributor to the Asemic Front project.


“Asemic piece” by Brent Nathan Bechtel (2014)


“Trade-off Manifesto” (2014)

How can I omit a piece with a Trahpo vibe and a Diane Keys aesthetic?


“And I waited forever” (2017)


“Text chop burlesque” by Brent Nathan Bechtel (2017)


“Untitled” (2017)


“Unbranded Consumable Item” by Brent Nathan Bechtel (2017)


“Drawn under my eyes” (2017)


“Stairway” by Brent Nathan Bechtel (2017)



“The Rebecca Type-overs” – Rebecca Resinski & De Villo Sloan Collabs

“Rebecca Type-over #1” by Rebecca Resinski (Arkansas, USA) and De Villo Sloan (New York, USA)


I was inspired by Rebecca Resinski’s artist’s book of type-overs using text by the Bronte sisters. So I have had a tremendous time, in turn, typing over Rebecca’s Resinki’s compositions. Much of this was typed on an electric typewriter (Brother ML100 Standard). Thus you have typewriter art by both Rebecca and me. The discerning will recognize, of course, that I used digital filtering on some pieces to heighten typewriter effects and to produce some deconstructive asemics.


“Rebecca Type-over #2”

“Rebecca Type-over #3”

“Rebecca Type-over #4” by Rebecca Resinski and De Villo Sloan

“Rebecca Type-over #5”

“Rebecca Type-over #6”

“Rebecca Type-over #7”

“Rebecca Type-over #8” by Rebecca Resinki & De Villo Sloan


“Sisters: Three Palimpsests” – An Artist’s Book by Rebecca Resinski (Conway, Arkansas, USA)

“Sisters: Three Palimpsests” by Rebecca Resinski (Arkansas, USA)

Rebecca Resinski – artist and Eternal Networker known for visual poetry as well – sent this unique artist’s book that is perfect for Asemic Front.

I recently made inquiries about people doing concrete poetry and typewriter art; maybe she heard. Rebecca and I have corresponded and I admire her work, but she is not a veteran of earlier campaigns like so many here on Asemic Front. I need to keep in better touch with her. And of course Asemic Front is open to new people who have not participated in earlier calls.

Rebecca has produced a compelling type-over concrete poetry in this book using literary sources. The process has resulted in the creation of asemic symbols as well.


“Sisters” is printed on a very sturdy, semi-transparent material that deepens the type-over effects and gives the piece wonderful textures.

From Sisters by Rebecca Resinski (2017)


More Quipi Asemics

Quipi-inspired asemics by De Villo Sloan


Work by Dorina Harangus in the previous blog along with my discussion of Quipi Asemics (aka Talking Knots, aka String Asemics) based on the Inca system attracted so much interest that I will add this addendum: Some of my own asemic work with strings and knots. I hope this might inspire some readers to experiment with Quipi Asemics or perhaps you have already produced similar work. I would be interested in seeing work in this area. Feel free to contact me.










Quipi (Talking Knot) Asemics by Dorina Harangus (Hechingen, Germany)

Asemics by Dorina Harangus (Hechingen, Germany)


I admire art by Dorina Harangus precisely because it is so indeterminate and open to interpretation, so I leave open the possibility that you might find things in this work that have no relation to asemics. That is very likely. At the same time, I want to explain why this ingenious work is so relevant to Asemic Front.



This new work by Dorina Harangus is a “found” plastic bag containing pieces of wood and paper shreds. I find the piece to be textually oriented on several levels: from the appearance of actual words to the use of material related to writing and printing as well as the concept of linearity. Here is the contents:



Specifically, and this is certainly a subjective response, the piece strikes me as being modeled upon Quipi: the language of knots used by the Inca. This piece by Dorina Harangus has knots. More important, though, it suggests a language composed of strings (the sturdy paper is string-like). Quipi uses strings extensively.

I know other asemic writers who are fascinated by this ancient Inca writing and have composed asemic pieces with string, knots and sometimes colours. The Dorina Harangus piece suggests the possibilities of this kind of work.








Asemics and Codification: “Code 58” by Litsa Spathi (Breda, Netherlands)

Litsa Spathi - 6.30.2017 - 3

“Code 58” by Litsa Spathi (Breda, Netherlands)


Asemic writers and artists who venture beyond initial explorations of calligraphy and solitary symbol creation soon encounter the process of codification in asemics (in a linguistic sense) and how it can be applied to this unique form of expression that seeks to elude conventional meaning. Codification, for example, involves – as well as basic symbol creation – relationships of symbols to each other, the construction of systems, arbitration between meaning and the meaningless as well as other related issues.

A segment of asemic writers – in fact – are fascinated with and specialize in the creation of asemic codes. The late Belgian visual poet and critic Guido Vermeulen was one such asemic codifier. Vermeulen convinced me that the creation of asemic codes is possible and can be fruitful; however, the approach is somewhat different than the construction of conventional codes. (A code is not necessarily inherently asemic, but it is possible to construct asemic codes.)

My purpose here – I believe you will be relieved – is not to discourse further upon asemic codification. I have done that elsewhere and will probably return to it in the future. (And the assertions I have made certainly deserve further explanation.)

The topic of this post is far more rewarding: I am very happy to share an interesting work by the visual poet Litsa Spathi. She is a perennial favorite poet of mine.

“Code 58” deals brilliantly with the related issues of codification, gender, meaning and the meaningless. You will not find – as far as I can see – asemic writing but rather a play of conventional symbols and shapes. Some maintain recognizable signification. Others have been disconnected from context (“Defamiliarized”) and are rendered meaningless (or indeterminate). This is certainly another mode for creating asemics. But please do not be burdened by theory. Do your own explorations of codes if you are so inclined and take my ponderings, as they say, with a grain of salt.

Enjoy the work of Litsa Spathi.