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CONTRIBUTORS
Carol Stetser
Dave Columbus
Dave Columbus
Francesco Aprile
John Mingay
John Mingay
Robert Keith
Vernon Frazer
Bill DiMichele
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- DRAW BLOOD OR GO HOME -
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Francesco Aprile
Strong horizontal bars function like a vice holding double
images. There’s magic in his compositions, letters overwriting nebulous images. Color, from dusky to brilliant, plays a large
part, vivid fluorescent projections of other universes. Words are beings, messages, instructions and a
million radio transmissions.
- DRAW BLOOD OR GO HOME -
Carol Stetser
Carol is working with anthropomorphic letterism and she’s
doing it quite well. Deconstructed text-
enlarged red letters- Renaissance sepia tone background- each piece has the
same fonts as the rest, but they’re all mixed up like Creation’s first moment. Carol’s cooking, badass cooking, makes the
rest of us envious. And I’m pretty sure
some of those figures are Aztec or Inca or something.
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Dave Columbus
I’ve known Dave since elementary school in Pittsburgh, Pennsylvania. I was always excited when my
mother would drive me to Dave’s house for a playdate (we were very young). We drew comics, we read comics and we talked
about the comics that ruled our world. We
invented our own characters and supervillains, our own dialogue and captions. His heroes are dying for action, and I’m dying to read about them.
Dave’s been working in numerous disciplines for 50 years or
more. If I was a soldier, I’d salute you,
my friend. So enjoy Dave’s creativity. It’s bliss.
Book of Attular-Squashed Bug
Deadpool-kind word and a gun-final, p4
Earth PD-#3-0-Spider Queen, Dr Styx
Not my circus. Not my Monkeys, 8 x 10 letter, p4
United Heroes of America-#6-0, p4 cover
Francesco Aprile
A crimson slash opens this chapter, vivid contrasts of red
and black, of blood and bruises. The
alphabet, real or imagined, (or if you prefer, real AND imagined) makes appearances
on each of these pages, letters bursting their stitches and being bonked on the
head. Dude’s got some serious wounds,
body hits all over the place. A
battle-hardened vet of the Visual Poetry wars.
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John Mingay
PROCESSING
With my phone not being up there with the smart set, its camera is a low quality RGB affair that only takes decent b&w images, all attempts at colour having ceased long ago. With this in mind, then, I decided a photographic vispo project was in the offing, with the camera being used to generate pairs of images initially in b&w and with one or both in each pair including text in one form or another. The intention in taking these images in pairs was that I had already planned to use an app, the highly commendable Toolwiz Photos, to create double exposures, along with introducing colour to the images and manipulating them further. The result was the accompanying set of fifteen vispo pieces.
cryptic
gone
poetry
processing
two to tango
Robert Keith
R. Keith is the author of Chicken Scratch (EYEAMEYE books), Background (inquieto press), How to design a hail storm (Another new
calligraphy), Signature Move (Knives
Forks and Spoons) and re: verbs
(Bareback editions), as well as four chapbooks. His writing appears in Canadian
and international literary journals.
The first thing you’ll notice is the aged yellow stained
paper. Then you’ll notice that the
image/text are also quite old. These
illustrations were essential for learning reading skills in the long ago times.
Now they’re essential to experiencing
and learning visual poetry. This is a
surreal entanglement of Past remembered, of afternoon sun lighting up the lead
paint on the windowsills, of the smell of a mimeograph machine, of the taste of
warm milk. It’s kind of like reading
consciousness back into Time/Space.
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2
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6
Vernon Frazer
The pieces here are composed of tight graphic elements, of
the interactions of explosion and smoke, of solid and motion, of text and shape.
I’m convinced that there are angels that
comfort Vernon; if anyone deserves their grace it’s him. Vernon says “near them a sweltering vomit
cathedral.” ?! what the Hell, that’s
flippin awesome! And the rest is just as good, as immense as a
city of perfect proportions.
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Bill DiMichele
I started this series of collages using an 8 ½ x 11 format, but as time passed the works slowly shrank in
all four dimensions until they reached a
diminutive 6” maximum measurement. Because
of this I call the series ‘Sliders’; don’t forget to tip. 20% would be nice.
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ToK #30 will have a special theme- all work will be done by
hand and only by hand-absolutely no computers, no phones, no cameras, no hi
tech anything. Include specs. Due Mayday. email: julie-d@prodigy.net
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