Monday, September 5, 2011

Tip of the Knife, Issue 6


CONTRIBUTORS




BERND REICHERT

Some of the most beautifully composed visual poetry I’ve seen in a long time, Bernd uses small snippets of letters, words, phrases, shapes, smoothly cut edges, torn edges, overlapping edges, color interactions, even graffiti, all in a state of becoming.   Things revolve and burst with pride.  Light peeks out, a proud corona of unimaginable temperatures (corona is Latin for ‘crown’, how appropriate). There’s a reason I chose these works to open T of K:   joy, strange harmonies, colorful wonders, and skill in arranging, in composing, in seeing.
  
And there’s a balance here that intoxicates. 


BILL CARMEL
Bill has returned from his journey through the desert, where I’m sure he found the mad and fiery glyphs he presents here.  Few can understand them until they understand their own hearts and souls, then they speak worlds, and worlds between worlds.  The overall shape is a dimension-twisting flame, speaking in burning tongues.  The edges, mad with hot colors, excite me, little flares that make my nerve endings vibrate and cry.

I’ve shown paintings many times with Bill; it has been my great pleasure to be on the same wall with him.


JOHN BENNET
These works are like a delicious apple pie- you want to get to the tasty innards but the outside is so luscious you dally and enjoy.  The series is made of word/letter blocks in 3 formats.  The first is in Spanish with at least one foray into Galician (something like Portuguese, o o o meaning the the the).  The second section is fractured letter/words, with ellipses that are to me the graphic equivalent of the attraction of one being for another, or a crazy game of hangman.  Section 3, a kind of sound poetry, repeats the external structure (the crust) of 1 and 2 and digs deeper into the beautiful flow of language (the apple filling) in its most immediate form.

So take a big bite, and make sure you get some crust and some filling every time.  It’s on the windowsill.


PAUL PACAK
Bimorphic webs, skeins of shadowy agents travelling across Asian-tinged plains.  The real world bowing to the Abstract.  Wooden walls between realties.  Paul’s work is all this and more.  I can imagine him taking a walk through our old crumbling hometown, finding himself in the midst of the steel mill ruins, lighting up a place that is seriously headed toward final entropy.  His formidable skills take telephone poles, punctuated by rusty metal staples, and transform them into magical totems. Snow, or frost, always known as part of a shaman’s ammunition, become  Paul’s weapons.
  
Sleeping substances awaken, and maybe melt in the sun, but not before they have been captured for us all.


MARILYN R. ROSENBERG
In Frank Stella’s essay ‘Working Space’, he speaks of a new physical world of art, specifically of works that literally come off the wall (or the book, or the screen).  These works live ‘in front of themselves’. This is the universe where Marilyn sets up shop, creating new, uber-colored planes, folds and interior spaces.  Travelling through these pieces with my inner eye, my third eye, I find paths of furrows, routes of ridges and a swirl of colors that makes me want to see a hundred of them.

Get busy Marilyn.


REED ALTEMUS
Mixing multiple elements, letters, colors, black and white images,  and walking a fine line “like a snail on the edge of a straight razor”, as Col. Kurtz says in Apocalypse Now, Reed lives to make a lopsided balance of glorious permutations, abusing language, making it spin and dance.   Some pieces emphasize power, like the amazingly hot-colored ‘60ies’.  Some have the authority of a crisp graphic bang, where alphabets (‘Mutter’) are born  full to bursting .  Then there are ‘Cobbing Homage #1’ and ‘NEW16b’, where letters and letter detritus wave goodbye as their body parts head for the singularity. There’s a significance here, deepened by an exciting approach.

From a crown of thorns, to a Communist propaganda poster to an exquisite letter/space bending alien baby, there’s genius to be found everywhere, from Bedlam to the Pearly Gates.


JIM LEFTWICH
Imagine a subatomic world where String Theory describes the actions and interactions of the smallest known features of the eleven dimensional time/space continuum in which we live.  Then imagine a visual poet bold enough to enter this quantum world, take the fibers and twist them, fold them, and stain them.  This is how we can read Creation, even when there’s nothing there.  Especially when there’s nothing there.  The way strings meet and intermingle create the laws of our reality.  It’s kind of like the junior high dance where an awkward pair of shy lovers discover the Righteous Brothers’ “Unchained Melody”.

Strings make music. Imagine the beauty.  Jim Leftwich makes music.  And you don’t have to imagine that beauty.  It’s here in this mag.

_________________________________




   "Beauty will be convulsive or not at all"
                                                                           Andre Breton

_________________________________

BERND REICHERT


 soliloquies-1 (2)










 soliloquies-2










 soliloquies-3










 soliloquies-4










soliloquies-5










BILL CARMEL























































JOHN BENNETT


          el  dedo  cumbre  lact
          ante  la lupa mortá til
          mis     escaleras     in
          mistibles  canica   que
          en su  zapato rehecho
          abre   la   llama  zopil
          otesca o o o o o o o o
          fr          ij               ol












          lúmen   y   torta   con
          goja y gota rumi ante 
          cloaca tu ded o presto
          o foque ante suma de
          mis  ≈≈  aguas esfuma
          das  mi  llave dental o
          es            pe          jo












          ... s ... luck ... i ... t ba ... ck.
          ... uh ... no ... de ... ment ... ia.
          ... c ... lam f ... og ... led.
          ... chu ... mpy d ... ust he.
          ... do ... gged ... em ... bole.
          ... s ... sismo ... che ... w.
          ... ed cor ... n ... in my la ... p.












          bli ... p ... sor ... t ... ank
          le ... bit ... en pee ... l
          ga ... k ... shir ... t ... spi
          t ... wor ... d ... clo ... ts
          cha ... fed ... st ... ool
          bi ... gger ... s ... tone
          dr ... ops ... mi ... tongue












          sped   half    combed 
          ched dar slumping on 
          the s tool's shaft fork
          cl icky like a tooth my
          faucet ,broke his ,nn
          ,blare   beneath   the
          bathroom   ))sodden
          b           oo            k












          spit  the  spread  pozole
          tripa    abanderada   mi
          gorra steaked an fli ppy
          ~~ queso o gusano the
          planks are wa ter mites
          spilling  from  mi  boca
          guau             hablada












          mor  tal  mor  tal  mor
          tal   mor  tal   mor  tal 
          mor  tal  mor  tal  mor
          tal  mor  ver  mor  tal
          mor  tal  mor  tal  mor 
          tal   mor  tal   mor  tal
          mor  tal  mor  tal  mor
                           a












          mimo  mamo  mimo  mamo
          mimo  mamo  mimo  mamo
          mimo  mamo  mimo  mamo
          mimo  ma   tar   mo  mimo
          mamo  mimo  mamo  mimo
          mamo  mimo  mamo  mimo
          mamo  mimo  mamo  mimo
                            m











          entra  entra  entra  entra 
          entra  entra  entra  entra 
          entra  entra  entra  entra 
          entra  en peixe ra  entra
          entra  entra  entra  entra
          entra  entra  entra  entra
          entra entra  entra  entra
                             t












          sabão  sabão  sabão  sabão
          sabão  sabão  sabão  sabão
          sabão  sabão  sabão  sabão
          sabão   sa  noite  ã sabão
          sabão  sabão  sabão  sabão
          sabão  sabão  sabão  sabão
          sabão  sabão  sabão sabão
                              b












          lodo  lodo  lodo  lodo 
          lodo  lodo  lodo  lodo    
          lodo  lodo  lodo  lodo 
          lodo  lo livro do lodo
          lodo  lodo  lodo  lodo 
          lodo  lodo  lodo  lodo 
          lodo  lodo  lodo  lodo 
                         v












          lua  lua  lua  lua  lua 
          lua  lua  lua  lua  lua 
          lua  lua  lua  lua  lua 
          lua  l   lábia   a  lua
          lua  lua  lua  lua  lua 
          lua  lua  lua  lua  lua 
          lua  lua  lua  lua  lua 
                         u









PAUL PACAK


 painting










 photo










 pole with staples










staples









MARILYN R. ROSENBERG



 
 3 BLIND MICE










3 BLIND MICE, another view










 SO AS view 2, part of Three Blind Mice










 SO AS view 4, part of Three Blind Mice










TAKE IT view 8, part of Three Blind Mice










REED ALTEMUS


07-15-09 1 










 60ies










 COBBING HOMAGE#1










 MUTTER










NEW16b









JIM LEFTWICH


 poems 2011 012










 poems 2011 024










 poems 2011 026










 poems 2011 032










poems 2011 033




_________________________
DRAW BLOOD OR GO HOME
_________________________


TOK #7 is open for submissions.  Two positions still available.
julie-d@prodigy.net

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