Asemic Calligraphy & Deconstructive Asemics
By De Villo Sloan
In my essay “Deconstructive Asemics” (April 2017/July 2024) I describe a method of asemic composition using – conceptually and materially – a pulverization of existing language into unintelligible fragments and particles. Constructs assembled from these shards suggest the presence of a text or even a mysterious language just at the edge of recognition. But they cannot be read in any conventional way and finding meaning quickly becomes elusive.
The asemicists at work in this area draw from sources in contemporary concrete and visual poetry; thus, they reflect literary currents as well. My generalizations here about the Deconstructivists are only a quick, and I am sure unfair, gloss. But this will have to serve until I can address the topic more fully elsewhere.
The Deconstructivists are a contingent of visual poets who have been associated with the movement for decades. They have a
deep interest in the daunting theory that looms over “serious” asemics like ominous storm clouds. Aesthetically they are preoccupied with the grim Existential chore of, as Shakespeare wrote, “signifying nothing.” My object here, though,
is to discuss the great majority of asemic writers whose primary method
of composition is calligraphy and whose aims are a far departure from the
Deconstructivists.
Ultimately, asemic calligraphy has as many variants and
approaches as there are asemicists. Under the asemic writing canopy today are a
number of distinctly different practices inter-connected and freely sharing
work as well as lively debate. Globally, the asemic movement is growing and evolving.
Asemic calligraphy practices range from reed pens and natural inks on handmade paper to watercolors to digital drawings to artificial intelligence and more. Many asemic calligraphers – I think rightfully so - consider the act of composition to be performance art. Wonderful documentation abounds in the area of asemic performance.
In my observations of asemic art for Asemic Front 2, I have identified a number of prevalent methods for asemic calligraphy: (1) Glyphs (aka) neoglyphs – asemicists construct glyph structures that stand singly or can be combined into texts. (2) Cursive – asemicists use expressive writing (called abstract calligraphy among other names). This linear cursive writing is often a mix of partial words, letters and drawings woven into the de-signified cursive flow. The practice also has strong parallels to automatic writing and drawing especially as practiced by the Surrealists. (3) Abstract Expressionist-based asemics: Cy Twombly and Joan Mitchell among other art notables are now literary stars as well among visual poets and asemic writers. They use a full range of abstract expressionist composition approaches - of course including calligraphy - to produce text-centered abstract art. My comments do not reflect the full range of asemic-calligraphic innovation, but I hope they can serve as a starting point for discussion.
The popularity of abstract expressionist-based asemics has sparked debates in the broader vispo community about genre lines being established between asemic writing and abstract expressionist art – and if such distinctions are even relevant. This passion for abstraction permeates asemic calligraphy. The conventions of "reading" abstract art are now synonymous with asemic reading in the minds of many practitioners.
Having read positions by the Deconstructivists and having viewed numerous abstract expressionist-based asemic pieces, I concur with the commentators who advocate - sometimes plea - for a language-based approach to abstract composition. This is most likely to produce the magic and mystery that is unique to the asemic text experience.
However, the creation of meta-text via calligraphy presents an inherent challenge. The asemic composition retains its difference from the abstract composition through its “textuality” as defined by Jacques Derrida. The writer must constantly invent and reinvent the textuality of the asemic field. Essential to the asemic text is a presence of linearity, however broadly one might choose to define the term.
Asemic calligraphy currently has eager practitioners and a large community around the world. While asemic art is rooted in the disruptive art actions of the last century's avant garde, calligraphers are weaving a generative, harmonic, meditative and strange new language that extends beyond our current range of awareness.
- De Villo Sloan
August 24, 2024
Elbridge, New York
(De Villo Sloan is a concrete poet and frequently writes about postavant art & lit. He is director of the Winifred & De Villo Sloan, Jr. Charitable Fund)
-sSs-
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