Special Feature: Beyond the Wall - A Visual Writing Exhibitt
“Manifesto in Yellow” (“Visual Manifesto”)
Jim Leftwich, the Pope of visual writing and the Godfather of asemics, has, here, given us a rather nice artwork. Notice the light grey “Ns” in the body of the work. This work, done primarily with sponges, is similar to Agnes Martin’s “a clear day.” It has the feeling of equilibrium and satisfaction within itself. It’s less minimalist than Martin’s work, not a signifier, but, in a sense, a signified, based on the principles of visual writing. This work is visual writing because of the “Ns” in it but also because the sponge marks leave a sense of fragmented cursive marks, similar to Chirot’s rubBeings. These are languages light years in the distance that no one has ever spoken or heard spoken, blue speech and discourses that humanity has longed to hear and read but has not been able to do so. They are a madness of what will never be understood, removed or articulated.
Jim Leftwich, the Pope of visual writing and the Godfather of asemics, has, here, given us a rather nice artwork. Notice the light grey “Ns” in the body of the work. This work, done primarily with sponges, is similar to Agnes Martin’s “a clear day.” It has the feeling of equilibrium and satisfaction within itself. It’s less minimalist than Martin’s work, not a signifier, but, in a sense, a signified, based on the principles of visual writing. This work is visual writing because of the “Ns” in it but also because the sponge marks leave a sense of fragmented cursive marks, similar to Chirot’s rubBeings. These are languages light years in the distance that no one has ever spoken or heard spoken, blue speech and discourses that humanity has longed to hear and read but has not been able to do so. They are a madness of what will never be understood, removed or articulated.