Friday, May 26, 2017
Click on the following link to read Elizabeth's article which she presented at the Rain Taxi sponsored Asemic Translations reading at Minnesota Center for Book Arts: http://www.raintaxi.com/dwelling-in-illegibility/
Thursday, May 25, 2017
Click here for more information about Post-Asemic Press.
Anneke’s Code for Interpretation
By Nico Vassilakis
Unwritten markings rest on an unsaid surface. What to make of this asemic writing?
Newly scribed documents resist an old foe – the unpredictable. Whatever it takes to leave behind behind. Meaning ain’t nothing but a thing.
There is hybrid in the air. Applying another to another. A thing won’t last unless it attached to the next.
I wrote this once – I think asemic writing/poetry is the ratcheted up magnification of parts of letters, the parts that no longer resemble and cannot be traced back to the original and so have determined to make a go of it on their own. It will be interesting to see where all the threads arrive.
Hasn’t taken long for a result to materialize.
Anneke is doing. She is mixing facets and excavating. Future aboriginal thrusts into the void. To write ahead of legible thinking.
She grabs at paint and she photographs how asemic writings merge with it. The black and white has attitude, makes it pointed. There’s a seriousness in her work.
Here is a possible rosetta stone age object. Certain texts, un-meaninged descriptives, assigned to specific brush strokes. Symbols, the undertaker presents, revisit how language transfers the audible to visual signage.
As each painted brush stroke is unique…
She says she’s “attempting a code for interpretation”
For each difference there is an adjoining asemic representation.
Creating an image using just these 24 brush strokes should produce an asemic translation. And conversely, a surface holding these 24 asemic stanzas, phrases and punctuations should be translatable visually.
This piece is from the ongoing series “Translating Paint”.
Anneke wields a sharp eye that steadies her composition. Her balance is sure. The series itself “Translating Paint”, shows her ability to keep a photographer’s sensitivities and a painterly hand alongside her visible language inclinations.
A key, genome, a periodic table showing how paint translates into writing and how writing is visual and gets traced into even further visuals and shifts into newly altered meaning.
This piece and its early building blocks, steers you to a future alphabet, near ready and able to propel you through thought and a capability to document experience.
She further explains, “it’s all about interpreting the paint, and finishing their sentences, showing their potential, their unspoken power or their assumed softness and how, when they speak, they can surprise as sometimes they could be speaking the opposite”.”
This piece is the first fold of a dictionary waiting to bloom.
Monday, May 22, 2017
I am giving a final tour of the Minnesota Center for Book Arts exhibit 'Asemic Writing : Offline & In The Gallery' on May 28th 2017 at 2pm.
May 28th is the last day of the exhibit. But there will be a pdf of the show coming soon. The following are images of an asemic mural I painted in 2003 before I had learned the term asemic writing. Post-Asemic Press titles will be available in the MCBA shop starting this week.
The following images are from a mural I painted in 2003 and are not in the asemic exhibit.