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there's a number of things i think of when creating these pieces, i'll try and explain some of that. a letter - letters generalized – can come down to a "natural" shape (a grapefruit, a waffle, a face, a road (something "seen")) or a shape abstracted (a square (the shape of many canvasses, the shape of waffle -grids-), a line ("thread shape")); then there are endless gradations between - the pieces explore this; a thought that crosses my mind is the syncretic aspect of English lettering, our roman script's evolvedplace on this continuum (b an abstract of the "natural" shape beth/house).
there is also a found aspect (such as in pinktintmummemmory), which is a sort of found-concrete-poetry - words and images in a context that might seem "unpoetic".
other thoughts:
- the concept of a shape as a poem (the easter wings, the roman horse apollinaire copied), the cage is named an elegy.
- documentation of events/letters/pictures by young children, or the illiterate, the dyslexic; perhaps writing "words" or a child who shows his mom an "elephant", or writes "his name" – grapefruit explores this: writing that is, by all communo-logical deductions, illegible/asemic/meaningless
these are some thoughts; i've created them from the standpoint of a concrete/visual poem, the linguistic in the picture (naturalfound ----- abstract), but this doesn't necessarily make them successes in that respect.
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