1. ZEROGLYPHICS - ADRIANO SPATOLA
Zeroglyphics
encompasses a vast array of visual compositions that overtly use the letterform
as formal elements.
The title implies that the letterform and its architecture are sacred,
and his “glyphs”
are somehow an ode or altar to the
letterform. They are composed in a format that just barely suggests the use of the letterform, yet
the reader immediately understands the compositions
as being comprised of symbols. The end result is an image that invites the
viewer to read, yet
denies him the possibility of decoding the text.
2. ALPHAMIRICON – BRIAN HENDERSON
Alphamericon uses
the letterform as a compositional element in visual poetry, yet most of them remain legible within the work.
Henderson’s poems serve to
elevate the letterform to a spiritual status;
he composes the letterforms in such a way that they read first as a circular
pattern similar to the
religious tradition of mandalas and icons, and second as legible symbols. What
he is describing is
the inextricable bond between religion and the written word, in that what is worshipped is not
only the concept of the deity/god/religious principle, but also the actual physical words that
are read by its followers.
3. TRANSFIGURATION – DAVID UU
Transfiguration
comments on the architecture of letterforms as objects. While one cannot help but try to read and interpret
the symbols used in the poem, the content of the work is much more about the structure
the letterform and unveiling the canons of typographic design that readers probably take for
granted. Because the average reader is not inclined to investigate the character of the design of the
letterforms they see, the poem serves to emphasize the formal and visual commonalities
between symbols that mean vastly different things and generate disparate sounds.
4. UNTITLED – PETE SPENCE
Spence’s Untitled utilizes
different types of letterforms and composes designs that leave the text legible
to the viewer, but it takes the meaning out of it by leaving a void in the
narrative. They are
compositionally arranged like tapestries or banners, which are inherently
legible forms of text,
yet they utilize letterforms to deconstruct the narrative.
5. MUTE SYNTAX – BRIAN DAVID JOHNSTON
Johnston’s Mute Syntax uses the
letterform as a pure compositional element in his poems. Where the title page
is designed very tightly and remains legible, the poems themselves are more
comparable to abstract expressionist paintings. The letters are deconstructed
to the barest linear strokes, yet are still immediately interpreted as parts of
text due to the visible serifs and our innate desire to read familiar symbols. The poems definitely follow
the canons of abstract western painting, yet add an extra layer of mystery
given they are made out of letterforms.
6. THE ALPHABET OF BLOOD – PIERRE COUPEY
Coupey designs his
poems in a way that is very reminiscent of the Russian deconstructivist manifestoes and posters from
the turn of the 20th century. Unlike posters and manifestoes, however, the poems straddle the
line between pure visual elements and legible poetry. Upon viewing them, the reader is able
to discern a few words or phrases, yet some are lost to the design of the piece.
Coupey’s work adheres to the
format of “form follows
function,” in that the layout of the design speaks to
the content of the work.
7. ALCOHOLALIA – ANDREE MOLOTIU
Alchololalia is a
compilation of various images that include representational drawings, non-objective forms, and
printed letterforms. The images appear to be mirrored in a kaleidoscope/Rorschach-like manner. Given
the title and symbolism within the work, the poems convey a sense of chaos and disorientation, similar
to the feeling of being intoxicated. The work as a series gets progressively less abstract as
the pages turn, and starts to involve more pictorial images, as well as legible, handwritten text.
The poems are very introspective and fluid.
8. TYPOGRAPHY OF THE PEROIOD – HEIDI NIELSON
Neilson’s Typography of the
Period is a close examination of a typographical element rarely investigated by the average
reader. Unlike the character of most letters, which vary greatly between different typefaces,
the period is almost always seen as a constant among letterforms. However, they are designed just as
meticulously as other characters in the alphabet. Neilson’s poem is also designed
similar to minimalist painting from the early 20th century, which helps the work double as visual art and
poetry.
9. TYPORTRAITS – KEVIN MCPHERSON ECKHOFF
It is not uncommon
to use letterforms to create images, and Eckhoff does just that. The images are composed of repeating
letterforms of the same size, creating images of various poets and artists. Upon closer
examination, the images are composed of text that is conceptually relevant to the life of the subject.
While often they are not complete,
cohesive sentences, they are made up
of words that definitely relate to the person pictured.
10. CLUSTER : A POME FOR CORRINE – HART BROUDY
Cluster is a set of
visual poems that utilize the typewriter to create images similar to abstract designs and Russian
deconstructivist painting. Broudy uses blocks of text, often composed of the same letter, and layers
them on top of one another. The end result is a layered effect similar to the very geometric paintings
and designs of turn-of-the-century Russia.
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