Mail-art by IUOMA member E. Coles (Bath, UK)
June 18, 2014 - Last year Emily Coles in Britain sent me some FAB asemics that displayed an affinity with the calligraphic wing of composition:
I have just managed to document and archive a second missive received from E. Coles. This postcard-size piece employs different strategies. She uses a more raw, ripped paper approach in this work that accentuates the materiality of language.
I believe the exploration of Arabic is very effective. Juxtaposing the elegant script with the industrial repetition of signs, a trademark of classic concrete poetry, and cursive asemics in an over-arching vispo structure produces an interesting meditation on the material production and representation of language as well as reading.
A number of contemporary English-language visual poets have turned to Arabic and Islamic art in general for inspiration, including Kerri Pullo (Arizona, USA) and Karl Kempton (California, USA). Many consider Brion Gysin’s work with Arabic/Japanese grid structures in the mid-2oth century to be a starting point for the current asemic wave. Emily Coles’ piece presented here is, I believe, an addition to the conversation. Here is the envelope:
And the reverse:
Always a pleasure to receive correspondence from Emily Coles!