Visual Poetry and Asemic Writing: asemic writing

Tuesday, 18 September 2018

I wrote a Letter to My Love and on the Way I Dropped It 10

This is the 10th (OBVIOUSLY!) in a series of paintings, but the first which has not been subjected to cut-up. I think sadly (maybe), the cut-up era (The Authentic Massacre of the Innocent Image Series) has mostly concluded - at painting 110. This is too large and heavy to cut up in any event - it weighs about 12 kgs and is 2.2mX.85 in size...posting pieces of that through the mail with the Post Office not delivering would be just a little ridiculous.
This new series is based on a cuneiform relic I have (copy) from the Louvre which incidentally is part of the Bible Exhibition. When I look at the relic and the painting, there is not a lot similarity. I should have looked a little closer I guess, but the wonderful thing about painting is that tomorrow is another day...

Monday, 4 December 2017

The Right of Writing

After a year which was...one of THOSE years, I decided it was time to get going on something I've been really keen to start, my own method of teaching - privately, rather than for an institution. Institution work still continues, but, I SO far prefer a more one--on--very few approach. To this end I have devised material for a few courses under the general theme Give Me Back My Mo-Jo - Accessing Baseline Creativity. The first module is titled The Right of Writing. This was planned as a three session course, but the need (and want) of a fourth session has been included.

Ann Marie - Writing (Palette)

In this course we covered various aspects such as the liminal space - that area of creativity which is the space 'between' - the gaps between things we know for certain. It is an anxious space, between what we know and what we don't know, BUT it is the space of question and intersection, involving ambiguity and waiting, but for the artist/person wishing to access creativity, the drama lies there, I believe.

Jackie - Writing (Phase 3)

Other discussions include post modern cultural theory where 'why and how and when' writing brings its associated baggage and how the interplay between concept, form, technique and material can multiply an artworks' interest by at least 4X. Intentions, expression, formats and multitudinous techniques are also discussed in terms of concept - what is best suited to the visual representation the 'artist' is attempting.

The journey becomes an important aspect to discover creativity (but I'm not giving those secrets away).

Janina - Writing (Phase 3)

Logograms as conceptual vehicles for self, and other, close to the bone, mind mapped concepts form a late part of the module beginning with 'self' and the 'shadow'. Cuneiform, Hieroglyphs and early Sumerian writing examples are good demonstrators of this concept.

Cheryl - Writing (Phase 3)

Further, we discuss asemic writing, palimpsests, The Medici Effect, mapping, altered realities and the differences between abstract and concrete in terms of writing/concept, the effect of font and.... on and on, but ultimately this is all about critically ordering the flow of communication in art-making

using writing as the cultural point of reference.