I’m in the process of going through previous blogs to figure out what I managed to accomplish last year, if anything–strike that: I know I did  accomplish a few things.  Anyway, I found this at the first entry I dipped into (which was posted 11 December 2011):

 

 

I copied the whole page of the anthology it’s on, hence the text below it.  As soon as I saw it again, I liked it as well as I liked it the first time I saw it.  Here’s what I said about it in my other entry: “I have a lot of trouble saying why I like this–extremely like this.   I do know that I am automatically attracted to anything with the word, “ur,” in it.  Beginnings, origins, the number one.  The work seems to me simultaneously some sort of alchemical diagram, a map of a section of an archaeological dig, a frame from a film of a dream, a “careworn and coffee-stained map” of a lost country (as bleed editor John Moore Williams muses in the text accompanying the full set of four pieces this one is the first of), maybe even a piece of square currency from some mystical secret nation . . .  Baker says of the set that “most of these pieces begin hand-drawn in ink, pencil crayon, watercolor, etc., and later are altered in a paint program”–much as the graphics in my work are.  My only gripe: he apparently doesn’t title his works–if he does, the titles have been omitted in the anthology I found it in.”

Do I have anything to add?  A little.  One is the importance visually and conceptually of the extremely un-organic elements: the rectilinear border, the three black symbols (two circles and a square, and black), the word, “ur” and the x.  The lines of dashes, too.  In short, a layer of conceptuality over a layer of Nature.  What would formerly be called a marriage of the perceived and the understood if “marriage” still meant what it used to.  So I’ll call it a wonderful dichotimfusion.

Amusing that I, the generally exclusive taxonomist, want to call it a visual poem (because of the word, “ur”) but its maker, Carlyle Baker, prefers the word, “graphism” for it.

.

 

I’m in the process of going through previous blogs to figure out what I managed to accomplish last year, if anything–strike that: I know I did  accomplish a few things.  Anyway, I found this at the first entry I dipped into (which was posted 11 December 2011):

 

 

I copied the whole page of the anthology it’s on, hence the text below it.  As soon as I saw it again, I liked it as well as I liked it the first time I saw it.  Here’s what I said about it in my other entry: “I have a lot of trouble saying why I like this–extremely like this.   I do know that I am automatically attracted to anything with the word, “ur,” in it.  Beginnings, origins, the number one.  The work seems to me simultaneously some sort of alchemical diagram, a map of a section of an archaeological dig, a frame from a film of a dream, a “careworn and coffee-stained map” of a lost country (as bleed editor John Moore Williams muses in the text accompanying the full set of four pieces this one is the first of), maybe even a piece of square currency from some mystical secret nation . . .  Baker says of the set that “most of these pieces begin hand-drawn in ink, pencil crayon, watercolor, etc., and later are altered in a paint program”–much as the graphics in my work are.  My only gripe: he apparently doesn’t title his works–if he does, the titles have been omitted in the anthology I found it in.”

Do I have anything to add?  A little.  One is the importance visually and conceptually of the extremely un-organic elements: the rectilinear border, the three black symbols (two circles and a square, and black), the word, “ur” and the x.  The lines of dashes, too.  In short, a layer of conceptuality over a layer of Nature.  What would formerly be called a marriage of the perceived and the understood if “marriage” still meant what it used to.  So I’ll call it a wonderful dichotimfusion.

Amusing that I, the generally exclusive taxonomist, want to call it a visual poem (because of the word, “ur”) but its maker, Carlyle Baker, prefers the word, “graphism” for it.

.

 

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