Tuesday, June 30, 2009
Here, graphic designer Yass Nassiri uses Persian letters and numbers to create patterns and flowers. These delicate, edible-looking designs makes me think that North American visual poets often miss out on a wide range of potential material. So many visual poets who stick to the alphabet as their basic artistic unit also stick to Roman characters, excluding characters, like Persian ones, that offer the potential for different shapes, forms, and moods. Since visual poets tend to stick to the letters of the languages they speak, I wonder if we can really support the idea that visual-poetry is completely without semantic content or semantic meaning. If visual poetry is without meaning, why stick to letters that you can read and interpret semantically?
Does your work remind you of a giant gerbil ball? If so, you might identify with Sako Kojima's installation piece "The reason why I become the hamster." A coworker told me about her. Go figure....
or, check out a tacky interview with Kojima at: http://vice.typepad.com/vice_magazine/2009/05/scandinavia-i-am-a-sad-hamster.html (tackiness on the part of the interviewer, not Kojima)