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/

 

 

[cheryl penn]

Rebecca - IF you're interested, look up the Novgorod Codex - its a very interesting codex - from where the line "The world is a town" is appropriated - maybe it will give you some inspiration - I have re-looked at that for years - and here I am, still coming full circle.  Looking forward to seeing what you come up with - I am still Bridging - SUCH an allegorical image/concept for me :-) X

[De Villo Sloan]

Rebecca - thanks for ex-Pounding. It's very useful to look at the meaning(s) of the words we use often so thoughtlessly. My favorite is scrambling eggs, as I was unconsciously making yet another reference to your chicken concerns. Thanks for a good chuckle.

Skybridge - I trace this whole Pound revival to a time when Erni Baer, TW & I were talking about Allen Ginsberg's visit to Pound in Italy when AG played "Sgt. Pepper's LHCB" for Pound & Pound reportedly sitting in stony silence barely tolerating it. "Ez says 'Don't mess with Fluxus!'" - I still don't get it. 

[Rebecca Guyver]

Scrambling is a great word.  I felt the need to consult my dictionary as was musing on the range of definitions... and as ever was not disappointed: 1. To move along by clambering or crawling on hands and feet. 2. to prepare hurriedly or confusedly. 3. To prepare (eggs) by stirring together while cooking. 4. to struggle in a disorderly manner; also, to seek something hurriedly and eagerly.  5. To run or climb irregularly or in all directions, as plants. 6. to insure secrecy on a radio or wireless message by a deliberate inversion or other alteration of transmitted frequencies.I reckon I'm scrambling on all levels.

[De Villo Sloan]

I am so vague - I have work from both R & C that I think are candidates for "The Decadence of Trashpo" but also for other places. Oh, I can use them twice. And thanks to both of you for sending the great recent work.

[De Villo Sloan]

Rebecca - pertinent items for sure. I still have to send to your summer show & my zine pages to Cheryl. I think we're all scrambling. I am very interested in sharing some automatic writing. Theresa Williams is already doing some. So through blogs or some way we can start seeing this automatic writing. I would guess there are connections to asemics and drawing with this - actually very much looking forward to it.

Yes, chickens are more demanding than children, no? And trying to take them with you to Maine, a nightmare.

Cheryl & Rebecca - I really think "Decadence of Trashpo III" has to provide some sort of closure to these theoretical issues about trashbooks. I have, for instance, more amazing trashbooks that have not been blogged, if they should be finally considered trashbooks.

And of course MinXus-Lynxus has to have these grand exhibitions for the Solar Festival. Once you start trying to put things in categories, it becomes more challenging.

[Rebecca Guyver]

DVS, I am not in Maine yet.  My son and mother are holding it all together on Cranberry Island for another few weeks while I tend to the chickens. And I look forward to you putting my mailart into context in any way at some later date if it feels appropriate.  I keep looking at Cheryl's zine deadline and wonder why I can't find my voice yet.  I did a bit of automatic writing with you in mind but ended up sending it to Cheryl instead ( as if she needs anything else...) because it seemed to make sense.

[cheryl penn]

"The Decadence of Trashpo Part III" - should I bite about WHAT it will be now or later??

[De Villo Sloan]

Cheryl, I think my commentary is situational. Theresa Williams sent the Ezra Pound pieces, and I had already been inspired with a personal association between Hart Crane's Bridge and your work. So everything seemed somehow measured in a relation to modernism - a tall order.

I think you certainly do have some modernists ideals, such as seeking unity (even among the fragments), renewal of old forms and ideas about epic and myth. Pomo gave up on many of those things eventually, which is one place where it differs from modernism. Maybe you draw upon things that seem Victorian sometimes, but I am not really pushing for establishing the Neo-Victorian. I usually can't resist rattling your chain a few times in the course of these things. I think including you in "The Decadence of Trashpo Part III" will be the real test, although I'm considering an alternative way to present that other work and preserve your dignity.

I do hope Theresa meanders by the ol' Mink Ranch (wait, where am I?) to provide some insight into the Pound pieces.

Rebecca G. - thank you. I gather you are in Maine and your mail-art call is going well. I received some great art from you that, as you can imagine, will work better in another context.

[cheryl penn]

Very glad to be coupled with Rebecca, Fatima and Theresa - and lucky you! You have work from Fatima - its really nice. (Mail art envy...) I think you have to further quantify Neo-Victorian? I was involved in VERY in-depth discussions yesterday regarding the pro's of Modernism. And, to put the cat among the pigeons, I think I retain many Modernist art viewpoints - DONT shoot!!!!!! Thanks De Villo - great read as usual. O- Ezra Pound - certainly HAS had a revival - love the Poundamoniam :-) X

[cheryl penn]

I keep getting interrupted while trying to read your blog - so far very good! Will let you know when I get to the end!!!