SoFloPoJo Contents: Essays * Interviews * Reviews * Special * Video * Visual Arts * Archives * Calendar * Masthead * SUBMIT * Tip Jar
Kristine Snodgrass, Visual Arts Editor
To have your visual art considered for a future issue please contact [email protected]
To have your visual art considered for a future issue please contact [email protected]
November 2021
Out of the Void—John Richard McConnochie
BIO:
John Richard McConnochie was born and raised in Liverpool U.K. where he studied illustration and graphic design at Hugh Baird college. His early years as an artist where spent in various countries throughout Europe,where he travelled and painted. 1974 was the year he held his first solo exhibition in the county library in Lancashire England. In 1976 John left England to live in Australia,in 1982 he opened Ftocus arts studio,and gallery in Sydney,where he began teaching. He was awarded the Mosman Art Prize,a major Austrafian Exhibition in 1986. His career blossomed from this point Since the 80s His work has been included in a number of major intemotional exhibitions including, 1986-The Pacific Forum Exhibition Fiji. 1987-The Australian Bicentennial exhibition Landell gallery, Carmel U.S.A. Amongst others,and more recently, 2009-Controversy and Acclaim,Mosman Galley Sydney Australia. 2016- Shakespeares 450 anniversary exhibition,which travelled to various cfties in Russia. 2018- Exhibition of international Asemic artists, Minnesota museum of usbation U.S.A. 2020 —"Nevermore" (Mai Piu) an exhibition against violence to women, Studio D'Arte Bologna Italy. 2021—"Nevermore" will also travel to the Centro Culturale Venturini , Massa Italy, amongst others. He has also held over a dozen solo exhibitions in Austrafia over his cmeer so far. Forthcoming exhibitions 2022 include a solo exhibition in Amsterdam at Ghazi Gallery, Wassenar, Holland. John is an enthusiastic arts facilitator and has been teaching constantly since 1982, at various colleges and studios around the east coast of Australia. Also is an active administrator of a number of online galleries, including Asemic -The New Post literate, Vispo, And Experimental Comics. Now at 72 years he is constantly active in all areas of the arts and his flame bums bright. |
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Artist statement:
It is all an experiment. All is process, flux. I cross the lines, as do many of my peers, drawn across a variety of manifestos. I Drift into pure textual experiments, yet often in the making there are radical shifts, chance collisions, gatherings, and the pieces evolve with a life of their own across the various paradigms of Asemic, concrete, and Visual poetry.The images, a reflection of the zeitgeist a diary of visual language, at times direct at times obscure, reflecting various modes and times of the making. As places dwelt they are in the past,while we continue in the flow.
"Everything vanishes around me, and works are born as if out of the void. Ripe, graphic fruits fall off. My hand has become the obedient instrument of a remote will."
—Paul Klee.
It is all an experiment. All is process, flux. I cross the lines, as do many of my peers, drawn across a variety of manifestos. I Drift into pure textual experiments, yet often in the making there are radical shifts, chance collisions, gatherings, and the pieces evolve with a life of their own across the various paradigms of Asemic, concrete, and Visual poetry.The images, a reflection of the zeitgeist a diary of visual language, at times direct at times obscure, reflecting various modes and times of the making. As places dwelt they are in the past,while we continue in the flow.
"Everything vanishes around me, and works are born as if out of the void. Ripe, graphic fruits fall off. My hand has become the obedient instrument of a remote will."
—Paul Klee.
AUGUST 2021
COLLIN J RAE
Collin J Rae is a Michigan born visual and aural artist currently living and working in northern Virginia. His photos have been published by TASCHEN books, European Photography Magazine, Secret Magazine, and many others. His “asemic” works have been featured in various online and physical journals. Current projects include collaborations with Thee Kristine Snodgrass, Pandemic Portrait photo series, and various painting projects.
(LISTEN)
Collin J Rae
Interview (Micro) by Kristine Snodgrass
Interview (Micro) by Kristine Snodgrass
Kristine: Your ideas about your art?
Collin: EVERYTHING is about adding and organizing “noise.”
Visually
So much of my life has been spent in music and noise and creating or representing sound / music that it has totally infiltrated my visuals.
Very natural.
Kristine: how did you come across or think about using the glass for photos.
Collin: Well, it just made sense, traditional photo filters and lenses are glass (sometimes plastic), I thought about how I could add noise and distortion to a photographic image... Fucked up glass and plastic filters, home-made. That was the answer.
It kept the process purely and organically photographic.
Kristine: I am always curious when you talk about preparing canvases or putting background like the graphite putty on before doing the "markings" on your paintings. A background foundation, is it?
Collin: It’s a base, the base tends to be created fast, aggressively and chaotic.
Then organizing the noise on top of that chaos becomes the visual and more meticulous
The music notation paper pieces:
Music is written within the boundaries of the notes within the predetermined lines of the tablature.
Some compose chaos in those lines, it’s amazing.
I compose and organize sonic chaos outside those lines, denying that structure.
So, the drawings reflect that.
Not denying but rather ignoring
All the visual works would have never existed if not for my music and noise works both past and present.
Distort, noise, organized chaos, visual and aural aggression at times these are important “thoughts” in my brain.
Kristine: when you look at a "finished" visual piece does all of that come through for you--how does it look?
Collin: It’s like anything in any medium I work in, when I feel a piece is done it is because it's working for me
in the way I need it too whether my actual intentions were reached or not.
Collin: EVERYTHING is about adding and organizing “noise.”
Visually
So much of my life has been spent in music and noise and creating or representing sound / music that it has totally infiltrated my visuals.
Very natural.
Kristine: how did you come across or think about using the glass for photos.
Collin: Well, it just made sense, traditional photo filters and lenses are glass (sometimes plastic), I thought about how I could add noise and distortion to a photographic image... Fucked up glass and plastic filters, home-made. That was the answer.
It kept the process purely and organically photographic.
Kristine: I am always curious when you talk about preparing canvases or putting background like the graphite putty on before doing the "markings" on your paintings. A background foundation, is it?
Collin: It’s a base, the base tends to be created fast, aggressively and chaotic.
Then organizing the noise on top of that chaos becomes the visual and more meticulous
The music notation paper pieces:
Music is written within the boundaries of the notes within the predetermined lines of the tablature.
Some compose chaos in those lines, it’s amazing.
I compose and organize sonic chaos outside those lines, denying that structure.
So, the drawings reflect that.
Not denying but rather ignoring
All the visual works would have never existed if not for my music and noise works both past and present.
Distort, noise, organized chaos, visual and aural aggression at times these are important “thoughts” in my brain.
Kristine: when you look at a "finished" visual piece does all of that come through for you--how does it look?
Collin: It’s like anything in any medium I work in, when I feel a piece is done it is because it's working for me
in the way I need it too whether my actual intentions were reached or not.
PHOTOGRAPHY BY SVEN BIRKERTS
I am a late-comer to photography's image-world---but quite obsessed. I only use an iPhone, and I post on Instagram, and I've not printed out any photos. That said, I have a great interest in the psychological process of finding and framing an image. I never set out to 'take' a photo; rather, I watch my reactions in various settings and wait until I register what feels like a command to get my iPhone out. Many of my 'finds' come via my peripheral vision, where some felt anomaly makes me stop to look. Looking is vital, of course, but it is the moment of seeing that confirms the decision to take. I am caught up by distressed surfaces that show the work of time; long vistas; the surprise of objects caught out of context, or which can be viewed as hovering on the brink of abstraction; revelations of strong form in common things...
Sven Birkerts is the author of books of literary essays and memoir, most recently Speak, Memory, a reflection on Nabokov's memoir of that title. He co-edits the journal AGNI and was for many years the director of the Bennington Writing Seminars. He lives in Amherst, Massachusetts.
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MAY 2021
COLLABORATIONS
Dawn & Nicola
DAWN: Dawn’s work is a mixture of dada, concrete poetry and collage. Her work, she hopes, is touching and funloving. Dawn is the author of Fisherman, Remnants of the Redribbon Sect and The penman ~ a serious writer. She has been published in many magazines such as, Utsanga, Angry old men, Sonic Boom ( cover artist also ) Timeglasset 6, Experiment ~ O, Otoliths, Marsh Flower Gallery and Ragged Lion Press. Dawn posts regularly on Instagram and Facebook. https://www.facebook.com/dawn.wardrope.3
NICOLA: Nicola's artworks have been published internationally in Art in a Box, Circulaire 132, Rubber Postcard, South Florida Poetry Journal, Sonic Boom (cover artist also), Stampzine, Utsanga and X-Peri. In 2019 she founded Attic Zine: The International Book of Colour, a loose-leaf assembling zine, which she continues to edit. She is also the Founder/Curator of Marsh Flower Gallery, an online exhibition platform, hosting artists from around the world. Nicola posts regular news about all of her creative adventures on her Facebook page: https://m.facebook.com/nicola.winborn
NICOLA: Nicola's artworks have been published internationally in Art in a Box, Circulaire 132, Rubber Postcard, South Florida Poetry Journal, Sonic Boom (cover artist also), Stampzine, Utsanga and X-Peri. In 2019 she founded Attic Zine: The International Book of Colour, a loose-leaf assembling zine, which she continues to edit. She is also the Founder/Curator of Marsh Flower Gallery, an online exhibition platform, hosting artists from around the world. Nicola posts regular news about all of her creative adventures on her Facebook page: https://m.facebook.com/nicola.winborn
Murks & Rappel
Myrna Burks (http://www.myrnaburks.com) is a painter and printmaker.
Rosaire Appel (http://www.rosaireappel.com) is an ex-writer and drawer.
We are both on Facebook and Instagram.
We have been collaborating since 2002. For more than a decade we met weekly, then more sporadically and also virtually. We’ve made multi-media drawings, digital photo collages, digital drawings, analog monoprints, unique books and commercially printed books – we even made a few animations. We work closely, side by side in front of the computer taking turns with the stylus. Yes, it is sometimes like a game when we make rules. We published a rule book in which we perversely broke all our own rules. For analog drawings we sit across the table from each other, passing papers back and forth. We go out of our way to get a rise out of each other. There is, I admit, a lot of laughter.
These drawings are some of our most recent, created pre-lockdown when we were free to come and go.
Rosaire Appel (http://www.rosaireappel.com) is an ex-writer and drawer.
We are both on Facebook and Instagram.
We have been collaborating since 2002. For more than a decade we met weekly, then more sporadically and also virtually. We’ve made multi-media drawings, digital photo collages, digital drawings, analog monoprints, unique books and commercially printed books – we even made a few animations. We work closely, side by side in front of the computer taking turns with the stylus. Yes, it is sometimes like a game when we make rules. We published a rule book in which we perversely broke all our own rules. For analog drawings we sit across the table from each other, passing papers back and forth. We go out of our way to get a rise out of each other. There is, I admit, a lot of laughter.
These drawings are some of our most recent, created pre-lockdown when we were free to come and go.
FEBRUARY 2021
Laura Ortiz
Laura Ortiz is born in Argentina, the daughter of a typographer, where she worked as an Educational Psychologist. In 2007 she moved to Montreal and began exploring drawing and painting and pursued her passion for visual communication by embarking on a degree in graphic design. In 2016 he began to create her own form of literature and abstract art. She started to participate in the international asemic writing community of Michael Jacobson’s The New Post-literate: A Gallery of Asemic Writing where, she meets De Villo Solan and collaborate for the Asemic Front. She aso participate with her works in Marco Giovale’s asemic.net Blogspot. Her asemic works have been featured in art exhibitions and magazines around the world, including Asemic Writing Exhibition Mappature del Contemporaneo at Parco Archeologico Scolaciumin Italy, Concreta- Fetapoesia Asemic and Concrete Poetry Exhibiton in Rome, Asemic Writing off line & in the Gallery at Minnesota Center for book art in USA, Muestra Latinoamericana de Poesia Visual Hotel Dada in the Museaum of Contempary Art of Junin, Argentina, Asemic Tech Exhibit in Barcelona, Spain. Her Upcoming Books is Unwriting by Asemic Press USA, by Asemic Front Press USA. In 2020 meet Gabriel --Aldo Bertozzi and she joined the European Avant-Garde Art movement, INISM.
Earth- Calling
Lotus Coding The Shapeof My Thoughts
Mystical Music
Dixie Junius
Dixie Junius was raised in New York’s Catskill Mountains near the Woodstock Art Colony. She was immersed from an early age in a community of makers, artists, artisans and musicians. Dixie graduated from Boston University with a B.A. in Psychology, and her career took her from Boston to Southern California, where in the early 90’s, she left the corporate world to resume her life in the arts. She studied hand papermaking at UCLA under Harriet Germain and took private studies in Japanese papermaking with Yoshio Ikezaki. Dixie became an accomplished papermaker, artist and teacher in the Los Angeles area, showing and selling her work in a number of galleries and venues throughout Southern California. Now living in Milwaukie, OR Dixie has returned to artmaking after a very long hiatus. Tight studio space has brought opportunities to explore working small and taking her art in new directions with an eclectic array of materials and techniques: Watercolors, inks, pastels, acrylics, pens and brushes, bits and bobs and things and stuff; papermaking and sculpture, asemic writing, painting and drawing, mono printing, paper cutting, photo glitching. A lifelong learner, Dixie takes as many online courses as she can fit to her studio schedule. She also daily absorbs inspiration from so very many artists whose work she follows. Always there is joy in exploration, discovery, creation!
Wishbowl II
Handmade paper and wishbones 2020
Handmade paper and wishbones 2020
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Art provides me an avenue to make aesthetic and emotional connections between my inner and outer worlds. I make art that brings these worlds together in a way that pleases me and seems as balanced, colorful and meaningful as possible. And sometimes there is a collision of inner and outer worlds...
My work is eclectic, asemic, eccentric, often reflective of the colors, patterns and movement in nature. Sometimes reflective of a tempest in my teapot or a storm in my studio. The mediums and materials I employ allow for maximum surprise and experimentation. Mostly I use water-based and alcohol-based media--inks, watercolors, markers and so on. Sometimes acrylics and acrylic inks. Handmade paper and mono prints also make an appearance or several. Recently, I have been exploring some digital work with glitches and alterations to my photos and artworks. These I can print digitally and then alter further with paints, etc. If it strikes my fancy. |
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Enso Morning Watercolor 5.5x8.5”. 2020 Random Thoughts Mixed media. 9x12” 2020 Eventual Longing Watercolor 9x12”. 2021
Serse Luigetti
Serse Luigetti, born on 3 august 1949 in Castiglione del lago (Umbria). After studies of philosophy, bookseller and publisher, discovers the mail art network in the late seventies. Since 40 years active with mail art, visual poetry, artist books and audio art in hundreds of exhibitions. His work can be seen in various zines,reviews, catalogues,records, assembling magazines and websites all over the world. Among them Alfabeta,Tam Tam,Almanacco Geiger,Arte Postale!,Doc(k)s,Commonpress,Kart, Franticham Assembling Box, Total, Assembling, Bau,Bambu, Offerta Speciale, Clinch,UNI/vers(;).
November 2020
Kerri Pullo
Kerri Pullo is a former psychologist born in the American Midwest. She is an asemic writing artist, and visual poet who currently resides in Tucson, AZ. Her work reflects the study of thought without language and the psychological effects of both creating and perceiving asemic written art forms. Pullo’s asemic writing has been published in An Anthology of Asemic Handwriting (2012), edited by Michael Jacobson and Tim Gaze, as well as various blogs including: The New Post-literate, MinXus-LynXus, Lemon Hound Literary Journal, Sonic Boom, and Utsanga. Her work has been exhibited in the UTSANGA ASEMIC WRITING EXHIBITION: Map of asemic horizon. Contemporary writings at Parco Archeologico Scolacium Roccelletta di Borgia curated by Francesco Aprile, Cristiano Caggiula, and Elisa Carella as well as Asemic Writing: Offline & In the Gallery, the first large-scale exhibition of asemic art in the United States, curated by Michael Jacobson.
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Isabelle Muszynski
Isabelle Muszynski is an outsider artist currently living in Antwerp, Belgium. Her formal training is in the sciences. She started to draw in 2014 after retiring from a career as a software engineer. Her preferred media are pens, ink and watercolors on paper.
Artist statement
My drawings start with one or more asemic glyphs which are then morphed into imaginary creatures by the addition of geometric shapes. The process is non-deterministic and highly interactive. Sometimes, if the drawing refuses to speak to me, it is set aside for a few days until the dialog resumes. The process ends when we are both happy.
My drawings start with one or more asemic glyphs which are then morphed into imaginary creatures by the addition of geometric shapes. The process is non-deterministic and highly interactive. Sometimes, if the drawing refuses to speak to me, it is set aside for a few days until the dialog resumes. The process ends when we are both happy.
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Halloween Asemic Doodles
August 2020
Jay Snodgrass
Jay Snodgrass is an artist and poet living in Tallahassee, FL. He is the author of The Book of the Twelve Heavens, Asemic Translations from Contagion Books and Monster Zero from Elixir Press. His asemic work has appeared in Big Bridge, Diode, Lockjaw Magazine and on Asemic Front 2. He is Co-director of Anhinga Press and Editor at Hysterical Books.
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Statement
In this series I wanted to explore different typographic iterations in order to discover the most fluid and esthetically satisfying combination of verticals and ligatures. The curve is the most difficult gesture to execute with repetitive accuracy and as such it frightens me, pushing me at the same time toward the exhilaration of success and the crush of failure. I have been using pages from a dictionary because of the size and quality of the paper and because in an asemic sense, the randomization of the pages and the redaction of the ink plays with the subsurface of the given or proscribed language. Communication as the organization and distillation of words is shown to be even more suspect than it already is. |
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The meaninglessness of the asmeic overcomes the intention of the imposed social and cultural language. |
Donmay Donamayoora
Dona Mayoora aka Donmay Donamayoora is a Bilingual, Visual and Experimental poet. Published author in India and Sweden. Creator of Calligraphy Stories, onomatopoetic graphic narrative without text. Visuals were exhibited in Italy, Spain, USA, Poland and Portugal. Published works:-Ice Cubukal and Neela Moonga from InsightPublica, India, Listening To Red, Echoes, and Language Lines & Poetry from Timglaset Editions, Sweden.Malayalam poems have been included in the academic syllabus of Pondicherry University. Poems have appeared in Indian Literature- published by India's National Academy of Letters, Malayalam literary survey and Sahityalokam - published by Academy for Malayalam literature.Anthology- A history of visual text art, Women Poets of Kerala: New Voices, Kerala Kavitha, Naalamidam.Visuals appeared in Group exhibitions at:-2016:- Archaeological Park Scolacium, Calabria, Italy.2017:- Barcelona, Spain. 2018:- Italy-Hungarian Academy, Rome, Museo Sociale, Danisinni, San Cataldo, Sicily. Ohio, U.S.A, Women Asemic Writer exhibit ( International Online Exhibit-Spring, Summer and Winter). 2019:- Experimental Museum of Contemporary Art - MU.SP.A.C, L'Aquila, Italy, Women Asemic Writer exhibit. (International Online Exhibit), Evora, Portugal, Museo Sociale, Danisinni, Italy, Lublin, Poland. 2020:- Women Asemic Writer Summer Exhibit. (International Online Exhibit)
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Statement:
These visuals, ‘'Time, space and continuum' – In the time of Pandemic, are selfies taken by standing in the same room, almost at the same position every day, wearing the same hooded top, facing towards a light source(Floor Lamp). The exit door from the room remains closed during the process. Every material used in this series was items that were lying around the house before the quarantine started. Canvas needles, Office labels, dried flowers etc. Almost every item used for this project is kept in a container after capturing the preferred visual. Some items like canvas needles, reinforcement labels, and dried flowers are reused multiple times. |
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While I was focusing on minimal gestures, I was also looking into some of these images in terms of Visual poetry, Senryu (unrhymed three lines, about humans- aspects of human nature and emotions), too. The word reinforcement is a powerful and hopeful word during this time of Pandemic. Further the shape of the reinforcement label resembles an alphabetic character in some languages. E.g. O is the 15th letter in English alphabet, and ഠ is the 12th consonant in the Malayalam alphabet.
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This series also addresses issues that happened while we were facing this pandemic. |
Todd Burst
Todd Burst lives and works in New Orleans, LA. After studying history and philosophy in graduate school in Washington State and New Orleans, he began exploring ideas through visual poetry. Most of Todd's works concern linguistic philosophy, post-structuralism, and deconstruction. Using asemic writing, Todd morphed the ideas of meaning found in philosophy with his visual poetry. He views his works as visual metaphors for the problem of meaning, in philosophy, and deconstructionism. In addition to visual poetry, Todd also writes about asemic art and its philosophical implications. His works appear in Utsanga, The New Post-Literate, Post Asemic Press, and other online publications.
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I create glyphs using a combination of Latin and Cyrillic letters. I primarily use ink, watercolors, and double exposure techniques. |
My works approach the myriad layers of meaning and non-meaning in written language. Meaning, Derrida argued, emerges from differance, a combination of difference and deference, where meaning is constantly pushed asunder and escapes direct expression. My works play with these layers. Asemic art refers to art that mimics language, but lacks meaning. I call this (Non)Sens or non-meaning. As meaning cannot be directly experienced, neither can asemic works be translated. They can be interpreted, but never translated. My works play with this phenomenon.
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May 2020
Lamar Garnes
Lamar Garnes is a native Floridian, who was born in raised in various parts of Tampa. He is an associate professor of English at Florida Agricultural and Mechanical University, where he teaches literature and composition. In addition to teaching and paint, he also writes fiction, and is often exploring other art mediums. He lives in Tallahassee.
We Raise Worlds
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Artist's Statement
Much of what I do is inspired by the women in my family. Women who have always found beauty and life when there seemed to be none or at least when others assumed there was none. Women who sacrificed when there seemed to be nothing left to give. Women who loved hard and full even when they knew their love would never be enough for anyone but themselves and their children, before they tumbled into adulthood. They created when often they were the only ones with eyes and hands and hearts to see the beauty and significance of what they had made. They are artists. I am them. They are from where my stories and paintings are born. They are the source not because they are family or women or black but because they went unseen, and their art went unseen because they were these things: women, black, poor, mothers, “common folk.” Through me, through my tools (pen, brushes, lens, scissors) they become seen in a way that disrupts and unsettles because the world as we’ve come to see it depends on their absence, their erasure, their silence.
As an artist, I make it my mission to fill in as many of the gaps and silences as I can. My work depends on my ability to grant the marginalized, those who exist in the shadows or only as imaginations or fever dreams, to tell their stories as they see fit and reveal their truths until they break through the limiting definitions that have made them into abstractions. I know how it feels as a “gay” black Southern man who has always been an interlocutor. Most of my life, I’ve only desired to be seen for who I am rather than as what I am believed to be.
Much of what I’ve learned about art and life and try to accomplish through it, I’ve learned from studying Sonia Sanchez, Gayl Jones, James Baldwin, Frida Kahlo, Elizabeth Catlett, Charles White, Nina Simone, John Coltrane, Aretha Franklin, and my grandmother, among so many others. I am interested in beauty: the beauty of language, the beauty of breathing, the beauty of being seen, the beauty of ugliness, the beauty of people as they are. In my work, I am often interested in showing how my subjects live, love, make love, create, find beauty, laugh, cry, grieve, rejoice, praise, and grow outside of and beyond surveillance, policing, imprisonment, abuse, and historical erasure while also exploring and interrogating how those very things can affect their inner lives and their navigation of public space. Ultimately, my goal is to tell the stories that reveal an unacknowledged humanity that unsettles and revises (or complicates) what we have been taught to understand as truth.
Paula Damm
Paula Damm is a life long self taught manipulator of thread who has been experimenting on and off with looms for the past 15 years. A 2019 collaboration with poet Terri Witek, Reliquaries: Indigo, was featured in Deeper Than Indigo:Southeast Textile Symposium, St. Augustine Florida. She is a registered nurse by training with a specialty in school nursing.
Artist's Statement:
On February 17, 2020, I began rifting on the traditional face mask form as a response to the emotional, medical, media response to the pandemic threat. Historically used ceremonially and for rituals, masks obscuring the mouth and nose had now become the uniform of 2020. Covering the mouth symbolically mutes the wearer and removes half of the face so only the eyes remain. I have created one mask per day, photographed with my phone in the same chair at the same time, suggesting a connection from one portrait to the next and dropping them into social media sites.
On February 17, 2020, I began rifting on the traditional face mask form as a response to the emotional, medical, media response to the pandemic threat. Historically used ceremonially and for rituals, masks obscuring the mouth and nose had now become the uniform of 2020. Covering the mouth symbolically mutes the wearer and removes half of the face so only the eyes remain. I have created one mask per day, photographed with my phone in the same chair at the same time, suggesting a connection from one portrait to the next and dropping them into social media sites.
Terri Witek
Terri Witek is the author of six books of poems, most recently The Rape Kit, winner of the 2017 Slope Editions Prize judged by Dawn Lundy Martin. Her poetry often traces the breakages between words and images, and has been included in American Poetry Review, Lana Turner, Poetry, Slate, Poesia Visual, Versal, and many other journals and anthologies. She has collaborated with Brazilian visual artist Cyriaco Lopes (cyriacolopes.com) since 2005--their works together include museum and gallery shows, performance and site-specific projects featured internationally in Valencia, New York, Seoul, Miami, Lisbon, and Rio de Janeiro. Collaborations with new media artist Matt Roberts (mattroberts.com) use digital technologies and have been featured in Manizales (Colombia), Glasgow, Vancouver, Lisbon, Miami, Santa Fe and Orlando. Witek directs Stetson’s undergraduate creative program and with Lopes teaches Poetry in the Expanded Field in Stetson University’s low-residency MFA of the Americas. terriwitek.com
Artist Statement:
The White Hand series are revisions of old pulp books (here,1948-1952) that are “unreadable” to me in one way or another—either the writing seems so bad I can’t hold my eye to the page or they are now so fragile that turning the pages feels like I’m killing them. Yet I love these books’ objectness: their heft and their covers, so redolent with stagey drama and their generic, hopped-up taglines, how their publishers’ crests ride the left corner, their factual pastness. My additions are simple: mark the white hands so that they are readable: think about what they’ve done.
The White Hand series are revisions of old pulp books (here,1948-1952) that are “unreadable” to me in one way or another—either the writing seems so bad I can’t hold my eye to the page or they are now so fragile that turning the pages feels like I’m killing them. Yet I love these books’ objectness: their heft and their covers, so redolent with stagey drama and their generic, hopped-up taglines, how their publishers’ crests ride the left corner, their factual pastness. My additions are simple: mark the white hands so that they are readable: think about what they’ve done.
February 2020
Nicola Winborn
Nicola's artworks have been published internationally in Circulaire 132, Sonic Boom (cover artist also), Stampzine, Utsanga and X-Peri. In 2019 she founded Attic Zine: The International Book of Colour, a loose leaf assembling zine, which she continues to edit and curate. She is also the Founder of Marsh Flower Gallery, an online exhibition platform, hosting artists from around the world. Nicola posts regular news about all of her creative adventures on her Facebook page: https://m.facebook.com/nicola.winborn
Walking With Thread
Walking With Thread 1
Above: "Walking With Thread 1" This image is currently in Winborn's exhibition on Marsh Flower Gallery called 'At Close of Day'
Walking With Thread 2
Walking With Thread 2 The image above and the two below are from Winborn's ongoing project called "July"
Walking With Thread 3
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Artist Statement:
Nicola cannot resist the urge to experiment in her art practice. In late 2019, she began to fuse her Rubber Stamp Art and Slow Stitch work together. The 4 pieces which make up 'Walking With Thread' use vintage fabrics, vintage threads, handmade paper and rubber stamping. Asemic glyphs are also beginning to find their way into this mode of working: evidence of this can be found in 'Walking With Thread 3' and 'Walking With Thread 4'. Nicola did not plan for this latest crossover and is very excited about where it might take her. |
Walking With Thread 4
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Above Left: Walking With Thread 3; Right: Walking With Thread 4
Sylvia Van Nooten
Words Waterfall Past Open Lips
Sylvia Van Nooten is an asemic artist and ESL teacher living in Western Colorado. Her work appeared in local galleries and at the exhibition "Mai Piu" in Italy.
Artist Statement:
Asemic art, with its pastiche of ‘language’ and images, allows me to merge texts and painting creating a hybrid form of communication which is open to interpretation on several levels. I find the act of creating this 'writing' frees my mind of intention and allows what I am not conscious of to come through.
Artist Statement:
Asemic art, with its pastiche of ‘language’ and images, allows me to merge texts and painting creating a hybrid form of communication which is open to interpretation on several levels. I find the act of creating this 'writing' frees my mind of intention and allows what I am not conscious of to come through.
Filaments Are Displaced Memories—
music disordered, Romance in a time of War
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Asemic Novella
 Sun Transmutes Rage Into Beauty
From Left to Right:
#1 At left above, "Words Waterfall Past Open Lips"-- silk, ink, paper 11 by 20 inches #2 At left, "Filaments Are Displaced Memories-- music disordered, Romance in a time of War"— mixed media, 17 by 22 inches #3. Above, "Asemic Novella"--mixed media on wood 24 by 36 inches #4 Sun Transmutes Rage Into Beauty ink and brush on paper 11 by 15 inches |
Giuliana Crocivera
Giuliana Crocivera is an artist and visual poet from Italy
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