Out there on a very different planet for many years, I was a dress-in-black, advertising type. I worked with 2D space, discovering that its prime physical property was its high cost. Goodbye unnecessary image and word. For visual poetry, an excellent training ground.
My concrete work explores at a very basic and non-academic level – letters and occasionally words or fragments of words, not merely as graphic or sonic representations, nor as units of meaning — but as something else: vibrant atomic and molecular structures, each containing worlds and worlds, each bursting with known and unknown energies and massive uncertainties.
When I first began, I knew I had to sift through the feast of graphic language and restrict myself to the shapes and forms of current English, though I was entranced by the ideographic power and flow and beauty of many others. I was taught Proper English. It is an abundantly ripe field. Structured. Sensible fonts. No magic hidden in the well of ‘a’. No swan in the curvy ‘s’. Great for a takeover.
Like all visual poets, my work destroys familiar forms and re-creates and re-assembles these energies into something else. These something else’s can be investigated endlessly.
There’s a magic force contained within letters, within words and phrases – a primal sort of life-plasma which feeds the unending newness of language. For me, this is why nOIR:Z exists: it offers space to showcase our explorations.