RECEIVED: Asemic, Concrete & Visual Poetry from Cheryl Penn (South Africa), Rebecca Resinski (USA), Fatima Queiroz (Brazil), Theresa Williams (USA)

[De Villo Sloan]

Mail-art by IUOMA member Cheryl Penn (Kwa-Zulu Natal, South Africa)

 

July 4, 2012 - The mail-art network has always been a wonder to me since I first stumbled upon or into it because it carries the forms associated with visual poetry (fluxpo, concrete, asemics, haptics) throughout the world without flagging, whether conditions "above ground" are favorable or adverse.

 

Some recent work I have received illustrates this point and shows the vibrancy of contemporary vispo. I was thrilled to receive not one but two pieces from Cheryl Penn's bridge series along with some other amazing material.

 

Cheryl's numerous friends and fans are no doubt familiar with and have even participated in her "Authentic Massacre of the Innocent Image" project. As I understand it, she takes William S. Burroughs' cut-up technique to a most literal level by cutting up her paintings and mailing pieces to different people. I think she included some of those in what she sent me, along with the bridge pieces, such as this:

 

 

There is a superb paint splatter on it that is clearly visible. After having co-coordinated international collaborative book projects such Project 26 and Asemics 16, Cheryl and I took a break from intense partnership. I believe I missed parts of her "Authentic Massacre of the Innocent Image," but I am very glad to have some pieces of it for the archive.

 

I have been particularly excited about her work using images of a bridge as the basis for what I think are tremendous works of visual poetry. Cheryl Penn frequently uses architectural images in her art, especially arches. The bridge pieces are the best synthesis yet she has achieved in melding text and image: a bridge to an often elusive integration in the visual poem. Both bridge and massacre, if they can be separated, carry Cheryl's writing, which I am also glad to see:

 

Classic stuff that inspired the invention of the Symbolist School of Subtle Aesthetic Obscurity (SSSAO), which is just a way of saying that some of Cheryl's work has always seemed to me to carry the qualities of the original Arthur Rimbaud and some aspects of Romanticism before they were cycled through the Modernist shredding machine giving us, uh, I don't know, things like Langpo I suppose. In the end, Cheryl is probably Neo-Victorian. For instance, no matter how strange they might seem, Cheryl often uses narrative. 

Yet this kind of work has led me to point out to her that I believe she constructs vast systems where the idea of signification (and thus meaning) become problematic. Her amazing bridge pieces seem an attempt to counter-act that tendency. Even if it is not fully achieved, a vision or at least a quest for unity and cohesion seems apparent:

Cheryl's bridges are attracting interest. I am not sure if Cheryl even read it, but not long ago Nancy Bell Scott (Maine USA), Theresa Williams (Ohio, USA) and I had an online dialog about this work. My point remains that if literary models can help frame this work, we should look seriously at Hart Crane's masterpiece "The Bridge" for its similar vision as well as Crane's use of language and its relation to image and metaphor. Cheryl's work has inspired me to do some related work with concrete poetry. Even if no one else does, I am revisiting Hart Crane. 

Also included in the envelope was this vispo piece that employs grids and overlays beautifully:

Here is some more bridge poetry:

Many thanks to Cheryl for this and other work recently received. Make sure to visit her blog to see some great books and the unfolding zine project:

 

http://cherylpenn.com/wpb/

 

 

Rebecca Resinski - Asemic Writing

Asemic writing mail-art by IUOMA member Rebecca Resinski (Conway, Arkansas, USA)

For months I have been seeing what is to me stellar asemic writing by Rebecca Resinski posted at the IUOMA and on various mail-art blogs.

 

I don't know much more about her. She was a bit hard to track down, but I managed to find her address and mail her something, mostly with the hope that I would receive an original example of her work. Lucky for me she responded with the piece above that was thoughtfully enclosed in a plastic envelope meant to be recycled.

 

I think Rebecca is able to find that magical quality in asemics where words and significance suggest themselves but disappear into the flow of cursive shapes before they reveal themselves fully. Here is the reverse side of the card:

Many thanks to Rebecca Resinski. I look forward to more exchanges!

 

 

Fatima Queiroz - Concrete visual poetry

Concrete visual poetry by IUOMA member Fatima Queiroz (Santos, Brazil)

 

Most people in the network quickly recognize Latin America is a center for visual poetry, and many of the poets are active supporters of mail-art, generously sharing their work and ideas.

 

I frequently blog work by Samuel Montalvetti and Rosa Gravino (Argentina). Clemente Padin (Uruguay), truly a living legend, is an active IUOMA member. I was very excited to have made contact with Fatima Queiroz of Brazil, as I also admire her work but have never been involved in any projects or collaborations with her. 

 

In much Latin American visual poetry, the roots in concrete poetry are still evident, as in the beautiful piece above Fatima sent me. At least one version of the history contends concrete poetry (typewriter art) as we know it began in Brazil (1950s) and found its way to North America, impacting avant garde poetry and Fluxus. (Clearly similar tendencies were emerging in Europe at that time not to mention Russia.) Fatima's work, in addition to her own distinct style and creativity, shows sophistication and a connection to a tradition.

This next piece by Fatima Queiroz is more minimal and incorporates a visual image in addition to letters:

Concrete visual poetry by IUOMA member Fatima Queiroz (Santos, Brazil) 

The letters converge at the bottom to form asemic symbols. The poet uses a full range of modes, integrated flawlessly and with great skill, to create lyricism and the simplicity of, for instance, a very economical imagist poem. I have also seen work by Fatima that has complex, colorful overlays as well as pieces that depart from text altogether. 

Thank you, Fatima! I look forward to many more exchanges.

 

Theresa Williams - Ezra takes a Pounding? Or Enter the Quarter Pounders

Mail-art by IUOMA member Theresa Williams (Bradner, Ohio, USA)

 

What has the ever-controversial Ezra Pound done to deserve a strange revival of sorts in the Eternal Network? Theresa Williams sent me these great homage/deconstructions, following similar work of hers that created a bit of a sensation on the MinXus-Lynxus blog. 

 

http://minxuslynxus.wordpress.com/2012/05/30/minxus-mail-from-ms-th...

 

 

 

This is a case where I am simply going to enjoy and not attempt to interpret, although I would very much like to know Theresa Williams' intent. She is very perceptive. Ezra Pound is also given credit for having contributed to the rise of visual poetry due to his use of Chinese ideograms in "Cantos." But the ants? I can't explain the ants.

Yes, Ezra and his relation to the Eternal Network remain a puzzle. You know he would have disapproved for some reason or other.

 

Why did Miekal And include a picture of Pound in the "Fluxus Book of the Dead"? Ray Johnson was very well read. He admired Gertrude Stein, but as far as I can see, fell short of weighing in on modernism or pomo other than grumbling a little about Olson and Creeley as the "Beat influence" present at the time of the closure of Ray's alma mater, Black Mt. College. Olson and Pound - they had their own correspondence school of sorts. 

 

But Ezra Pound is definitely baggage in all this, one of those difficult subjects you can't avoid returning too when trying ever again to set things in order. And don't miss Theresa Williams' amazing letter project blog:

 

http://theletterproject.wordpress.com/

 

Many thanks asemic writers! Visual poets! Quarter Pounders! Neo-Victorians! I appreciate having received all this great work. 

 

MAIL-ART PSYCHIC

"No! I prefer MinXus!"

http://minxuslynxus.wordpress.com/

 

 

[De Villo Sloan]

I am so impressed by Theresa's comment about EP, I quoted it and added a blog entry at MinXus-Lynxus. I wish there was a way for anyone who has ever pondered Ezra to read this:

http://minxuslynxus.wordpress.com/2012/07/05/poundamonium-by-theres...

TW, you reminded me of the A.R. Ammons poem "I am Ezra." It's actually written about Ezra Cornell - founder of Cornell University and 19th century telegraph magnate (Western Union, I think). But Ammons must certainly has been thinking of Pound too. 

[De Villo Sloan]

Wow Theresa, thank you so much for the explanation. Absolutely wonderful on every level & rich in detail concerning a figure - an assertion of pure will - none of us can avoid confronting still, whether we know where the impulse came from or not.

I think what you say about Pound, his personality, his attempts at control - such as when confined in St. Elizabeth's hospital and even them marshaling the forces that would evolve into postmodernism - it is in the word derviations: Fasci - fascination - fascism

[Nancy Bell Scott]

That's fabulous! Wowee.

[De Villo Sloan]

You betcha, I am very excited about it. Here's one in a bridge series I'm doing:

[Nancy Bell Scott]

The bridgetalk is going to lead to even more bridgework, or at least is fostering bridgethink, a fruitful area for sure.

Lisa, those poor hippies.

[De Villo Sloan]

Thanks Nancy. Your "asemic bridge" pieces seem to be part of these visual poems we're seeing involving bridges. "Asemic Bridge" by Nancy Bell Scott; photo courtesy of Marie WIntzer:

[Nancy Bell Scott]

Fortunately I have no bridgework but appreciate your regret anyway, DVS. Great blog! about great works.

[De Villo Sloan]

From Canto XVI

I have brought the great ball of crystal; 

Who can lift it?

Can you enter the great acorn of light?

But the beauty is not the madness

Tho' my errors and wrecks lie about me.

And I am not a demigod,

I cannot make it cohere.

[De Villo Sloan]

But he went on to become a famous Italian radio personality.

[De Villo Sloan]

I made the mistake of telling NBS I liked her bridgework when she did some work in this spirit. I suppose TW is never going to explain what this Ezra Pound thing is about.