Exodus - A Visual Prose Poem


 

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Cheryl Penn - A vispro journey.

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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...
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Visual Prose

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 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.
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A vispro and vispo experiment

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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...
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