Mail-art by IUOMA member Rebecca Guyver (Suffolk, UK)
July 4, 2013 - Rebecca Guyver sent me a most wonderful Trashbook, made all the more extraordinary by a special process of composition she has perfected using melted plastic: "Fusepo." I can testify the results are astounding in terms of texture and colour; the book is haptic as well as visual. Might this also be considered processed Trashpo? Trashpro?
The MinXus lexicon tells us: "MinXus is the opposite of Trashpo." Yet with the heft of dialectics firmly in her favour, Rebecca does seem to have achieved a MinXus-Trashpo synthesis. In fact, the book achieves synthesis on a number of levels. Here is a scan of the front (right) and back (left) covers:
We also note the Trashquilt concept has been employed here. The stitching is very fine and uniform.
Miss Becca has become a seasoned, knowledgeable and respected Trash poet. Firmly in company with Jim Leftwich (Virginia, USA) and Diane Keys (Illinois, USA), she creates visual poetry from found material that integrates image and text.
As with much Trashpo, the structure and unfolding of this work is primarily organic rather than formalist, referred to as D-Khaos. Sometimes, especially longer, organic pieces can collapse or meander into nothing, a dissipation of energy. Miss Becca has added various systems (formalist) using repetition of colour, shape and image (among other elements) that help sustain the book. A nice balance is achieved, I think.
The pages presented thus far reveal the guiding structural principles. Miss Becca included the following kind note:
Rebecca Guyver asks specifically about asemics and through implication raises the issue of related practices such as visual and concrete poetry. I am pleased to be able to offer a humble opinion in reply: This Trashbook should be considered vispo with its lyrical play of word and image, visual syntax - a fairly traditional form of vispo. The weaving of words and letters as well as the suggestion of language as a material link this work to concrete poetry. On some pages, the work is also fairly minimalist in terms of language.
This is one of our favs in the whole book. A close-in, we hope, reveals the similarity to earlier concrete poetry:
At this point in her work, Rebecca has become conversant with types of poetry that have flourished in the Eternal Network: vispo, haptic, asemic and concrete. Here she is able to intermingle them without much self-consciousness: another synthesis.
All the elements mentioned above are, further, integrated neatly into a Trashpo format. Here are the concluding pages:
Many thanks to Miss Becca for sending this fantastic work! I treasure it!