Ptrizia (tictac)

Features:  1) Asemic writing collage text

                   2) Palimpsest

                   3) A4 fine art paper

                   4) Elements of collage, ruberstamp

            

Ptrizia (tictac) wrote on the work Anecdote:

            I thought of my version of an anecdote, because it is a short story - a brief narrative within a broader discourse often contained in one paragraph and that demonstrates a point making the reader think deeply. The visual part is the 'broader discourse' underneath that expands  beyond the anecdote, the vintage brush of it giving a nostalgic flair, with a surreal mobile rubber stamp detail, to add the irony - I like to portray in my personal stories.



Comment: I knew in asking Patrizia for a work to demonstrate her understanding of vispro that I would receive a well thought out, quirky work which would reveal a truth more general than the brief tale from which it is drawn.  Patrizia (to me) produces quintessential visual poetry, but this work, as she states, is intended not to address the poetic of the term anecdote, but to visualise a common feature of literary work which involves subtle exaggeration and dramatic shape. In the words of Jürgen Hein, they exhibit "a special realism" and "a claimed historical dimension." (Quoted by David Gurteen  https://conversational-leadership.net/tag/anecdotes/

The word anecdote  was apparently coined by Procopius, the principal Byzantine historian of the 6th century, in a work titled Secret Society. Procopius is commonly classified as the last major historian of the ancient Western world, with  Secret Society being a collection of short incidents from the private life of the Byzantine court. One can see the visual element of a ‘peeper’ in this work, a chronicler who watches without being noticed, but who is surreptitiously recording all the untold secrets of those who think they are beyond the realms of ‘reality attending to reality’ – they who make use of innuendoes and subtle talk, those who deny and scratch out their words and re-say them – depending on the audience. The hint of a page number tells us that perhaps this a is part of a series of anecdotes. As an anecdote is a mini-story, this piece is also visually  structured as a ‘mini-story’ with the image in pocket, adding to the intended mystery and amusement. 

 


I got the blues:

 

Patrizia sees  “prose structure as fluent language with no stanzas but paragraphs that form rectangular shapes on paper. Every one of these paragraphs contains elements of the subject as supposedly prose does - being narrative after all.  The visual part are the elements is the blue of collage as the subject and I chose Asemics as the universal language that allows me to write the story and you to interpret it. My story is your story. Poetry can be perceived to be about the poet's feelings, and sometimes you have to read it few        times to understand and still may then not necessarily connect with him/her, as it is all about personal journey. Prose is easier to read, and it is informative, narrational and not necessarily as creative as poetry. It is intended to be more informative on a subject (whether you like the authors writing style or not). Maybe be I am simplistic, or minimalist but I go mostly by artistic intuition and shapes I see.

I am not a writer, so I lack of the understanding of literary tools and devices and as an artist I am more comfortable with the visual part which is more the shape than the narrative. I wonder what the differences of interpretations between artists, writers, and artist who-are-also-writers would be (on prose), whether on canvas or paper - and what it is they would concentrate on more (when tackling various literary devices).

Comment: I think Patrizia asks an important question here – what do artists/writers concentrate on/interpret whilst engaging in artistic practice? How do they situate the text on a page – and why do they choose to do it like that? What was the intent – to be poetic or to create an effect of prose? Are these two methodologies different at all? I would definitely think so.  Shape is also important in distinguishing between the poetic intention and the prose-ic intention I would venture. Think of concrete poetry, the ‘father’ of visual poetry – shape was a powerful determiner in categorization. True to the rectangular prose form, a simple colour element guides the reader to the intention of the writer-artists – I got the blues. ‘Blues’. We know can refer to music or an agitated, depressed state of mind. Interestingly the term is thought to have derived from a 17th century English expression referring to ‘the blue devils’ – intense visual hallucinations accompanying severe alcohol withdrawal https://www.huffpost.com/entry/blues-music-history_b_2399330 - there was very little that was poetic about that!


Comments

Post a Comment

Popular posts from this blog

Cheryl Penn - A vispro journey.

Image
It was a long journey to here, but now I am certain of the animal I am creating. I paint prose in a visual manner. I write layers and layers of prose over canvases up to 3m X 3m. Unfortunately they can’t be bigger because no linen is wider, and wooden frames distort, but ten, twenty, thirty layers of writing or making marks that look like writing, I write, and write and write. Further, I submit my own work as  vispro  having become frustrated with the term ‘vispo’ which seems too encompassing – a generic term to cover a multitude of textual creatures which no longer know why they are even on the textual visual plains – they’re just there, wondering exactly what they are – or not  - I’m often surprised by the indifference with which their inventors create and dispose of them.  Layer 1: The Student. I am a writer, but I am an artist too. Writing has consumed me since childhood. Whether it was the distraught pages of a teenage diary, the ravings of an early 20’s lu...
Read more

Visual Prose

Image
 or, vispro. What is that?  I am seeking to explicate some parameters in which to frame various artworks one could term   vispro   and   through visual examples   elucidate a philosophy for the existence of   vispro .     Through the use and discussion of unusual and everyday examples of   vispro ,  I wish to test if   vispro   can exist within a valid theoretical framework.  I intend using   the   Liber Linteus  (a linen book) otherwise known as the   linen book of Zagreb to   typify a physical manifestation of   vispro . It is no longer intact as   Mihajlo  Barić unwrapped the relic, but the photograph below (date unknown) would exemplify the embodiment of  vispro.  The mummy of Zagreb with fragments of the Liber Linteus ( http://www.geocities.ws/jackiesixx/caere/linteus.htm ) date of photograph unknown.
Read more

A vispro and vispo experiment

Image
A vispro experiment. Is there any difference in intent between a vispro (visual prose) or a vispo (visual poem) image? I created an two different works to see if two different approaches to the same material resulted in two different outcomes – there are many more to follow in order to fully understand the process as well as the finished work, but I need to start somewhere. I have followed David’s words for many years now*, and when I eventually tired of reading his poetry through my own filter, I asked him to write me clues for understanding his poetic. This correspondence has gone on for quite a few years, resulting in books bound and destined for  The New Alexandrian Library**.  I began working firstly with David’s poem  Citadel VI 1. With intent*** to create two different kinds of images, I used David’s poem to begin a vispo work and his prose as the starting point for a  vispro  image. The method approached for the vispo image suggested certain po...
Read more