Mail art by Richard Canard (Carbondale, Illinois, USA)
First, Jon Foster’s (North Carolina, USA) account of a visit to Richard Canard’s legendary storage unit is a must read and, in our estimation, already a modern classic in mail art journalism:
We are riding on Jon Foster’s coattails with this documentation of a few of the many wonderful pieces Richard Canard has so generously sent us this year.
The first (above) is called by Richard C a “practically readymade asemic.” We believe he has made a solid contribution to the growing asemic movement with this work. As we understand it, this is the kind of work favored by visual poets Jim Leftwich (Virginia, USA) and Tim Gaze (Australia). Both these asemic pioneers (although Leftwich prefers not to call it asemic choosing instead to consider it vispo) favor constructs made from shattered, distorted, disrupted, fragmented (we hope you get the idea) bits of existing language. Upon these ruins of meaning, hopefully, some newer, better and greater understanding can be provided that conventional literature and poetry fail to articulate. Richard Canard relies on a kind of diminishment or increasing absence in the creation of the symbols; the core process is erasure. His disappearing alphabet chronicles the process of deconstruction where the intelligible is transformed into the unintelligible then emerges as meta-language and a different mode of expression all together. Indeed, we could call this particular approach to composition “Deconstructive Asemics.” Here is the reverse side:
Here is a shining example of Richard Canard’s highly recognizable style:
And the reverse side:
More poetry by Richard Canard:
As ever, many thanks to Richard Canard!