The consequence of marking words upon a surface leads to a series of variable methods and experiments, always confused / unsettleed across works abstract / durational / minimal / pansemic or asemic writing / concrete or visual poetry / collage / illustration / installation.
- Mahu : Hardy Tree Gallery Kings Cross : 2015 : London, UK
- Worm Wood w/ moving image artist Tereza Stehlikova : Kensal Green Cemetery Dissenter's Chapel : 2017 : London
- Visual Poetry at Museum of Futures : 2017 : Surbiton : London
- The Night-Time Economy w/ photographer Kate Mercer : Riverfront Arts Centre Newport : 2016 : Wales
- Rest & its discontents : The Mile End Art Pavilion : 2016 : London
- Conceptual Poetics : The Poetry Library : 2016 : London, UK
- Neurocantos w/ sculptor Rebecca Kamen : Greater Reston Arts Center : 2015 : Virginia, US
- Nanopoetry w/ material engineer Thomas Duggan : Victoria & Albert Museum : 2015 : London, UK
- Poetry in Collaboration : The Poetry Library at Royal Festival Hall : 2014 : London, UK
- Enemies: Visual Art and Poetry : Hardy Tree Gallery Kings Cross : 2013 : London, UK
- Visual Poetics : The Poetry Library at Royal Festival Hall : 2013 : London, UK
- Vikings : Ark : 2013 : Copenhagen, Denmark
- Gilles de Rais w/ artist David Kelly-Mancaux : 2013 : Rich Mix Gallery Brick Lane : London, UK
- The Estates of Westeros w/ artist Ben Morris : 2013 : Darnley Gallery Hackney : London, UK
- 5 x 7 : Hardy Tree Gallery Kings Cross : 2013 : London, UK
- Vispo London - an exhibition at the Tarp Festival Vilnius, Lithuania: October 2012
- The 9 lessons of Wortwedding - an exhibition at the Wortwedding gallery, Berlin
- evolve:R - an exhibition in Lugano, Switzerland: September 2014
Coming soon : The Poem Brut
Four new limited edition art books and an exhibition at Rich Mix as well as, beyond my own work, a programme of books, events, exhibitions and installations that explores the visual and contextual character of poetry and text, and in so doing the overlaps between modern art and modern poetry.
About the project: What is in the shape of a letter? What images do words recall? What is the meaning of colour in poetry and text upon the page? And white space? How does the situation of a poem change its meaning? Why is composition not a concept that applies to a medium that is innately visual? In literature, why has content overwhelmed context? Why has product dominated process? In the UK especially these questions fundamental to most other artforms have been neglected. The Poem Brut, in a playful, creative and accessible manner, aims to redress some of these concerns.
The Poem Brut explores the language art, the art of poetry – handwriting, abstraction, illustration, asemic and pansemic writing, concrete poetry and more. This is an examination of words that are meant to make you squint, to battle for legibility, rather than you be able to pinch and extend your thumb and forefinger against the page to get a closer look. A celebration of scribbling, crossings out, forgotten notes, strange scrawls - the odd interaction between paper and pen, and pencil, and the colours that randomly collide. It is a project about the page as a block, about geometry, about lines that sever meaning, about inarticulate shapes, about minimalism and collage. It is about making, gesturing towards the handmade, the amateur, the outside, liquid and wood, ugliness, toilet wall draughtsmanship and mess. It is a response to being called an artist in the poetry world, and a poet in the arts world.
As a major part of our day becomes how much time to spend online, and a movement slowly arises to disengage from online existence, so The Poem Brut is also intended to be a tiny return to the obscure, inarticulate, child-like intensity of our making marks upon a page, pen, brush, pencil to paper, that which underpinned the art brut and all it was influenced by.
Drawing on the great post-war figures of avant-garde poetry and visceral text art, and so interrogating the limitations of these definitions, The Poem Brut will refer back to European figures still profoundly underappreciated in the UK, most especially in literature. Henri Michaux, Christian Dotremont, Karel Appel, Asger Jorn, the CoBrA group, Messa.
Works that explore language as markings, that return to the lost languages of linguistic history alongside the immediacy of groundbreaking art movements that used text freely and influenced practitioners from Basquiat to Twombly, will be created and brought into focus. Both those who pioneered such works in poetry and art will be brought together, from the last seven decades and the now.
I fear my best work behind me / Stranger Press : November 2017
A book of poem-bruts. A fractured, overwhelmed, handwritten victim of colour, brutalist child-like portraiture, abstract illustration and negative space. The works call back to the post-war and latter 20th century explorations of the CoBrA group - especially – Pierre Alechinsky, Asger Jorn, Karel Appel – who have been influential on my thinking and work. / Artworks have been published in Oxford Poetry, Test Centre magazine, Gorse Magazine, Partisan Hotel, Fractalia. http://www.stevenjfowler.com/ifear
Aletta Ocean's Alphabet Empire / Hesterglock Press : November 2017
A book of pansemic or asemic writings, hand wrought, using indian ink, techniques edging around writing, vying with abstraction, watercolour. The drawings of Henri Michaux, the writing art of Christian Dotremont, others I can throw in, Yves Klein.
New Prim / Hesterglock Press : 2018
The obscure, inarticulate, child-like intensity of the movement of the hand while writing - deliberately rough, handworked. The words are meant to make you squint, to battle for legibility, rather than you be able to pinch and extend your thumb and forefinger against the page to get a closer look. Scribbling is more interesting than type, as are crossings out, as are forgotten notes, strange scrawls, gesturing toward the handmade, the amateur, the outside, a tiny gesture of mine towards paint, ink and paper, towards liquid and wood, ugliness, toilet wall draughtsmanship and mess.
New paintings 'Cemetery Portraits' for Worm Wood - August 2017
A series of portraits, of people who, at the time of painting, were buried in the place the paintings were made - Kensal Green Cemetery, the first of London's magnicifient seven, as part of the Worm Wood exhibition.
Portraits of Harold Pinter, James Ballard, Charles Babbage and Isambard Brunel amongst them.
The series was made under the constraint that I could only paint them on site in the Dissenter's Chapel with materials found in the chapel, the catacombs, cemetery stores and in the cemetery grounds.
Mahu: June 6th to July 14th 2015 at The Hardy Tree Gallery. London, UK.
An exhibition of handwriting as art, a novel written onto the walls of a gallery in black ink, descending into asemic abstraction. A durational practise of writing / an exhibition of the word as symbol as well as content bearer www.stevenjfowler.com/mahu
Including - Gold & Silk exhibited at Victoria & Albert Museum (2015) and Hardy Tree Gallery (2013) and The Night-Time Economy: an exhibition - April 6th to 29th 2016 at The Riverfront. Newport, Wales. / Rich Mix Gallery. London, England.
A series of minimalist text artworks, exhibited in collaboration with the photographer Kate Mercer, responding to the violence of Newport's nightlife. Interrogating the detail of language, how it is as a material, how poetry is read when framed, beyond the book, in the gallery setting. More here http://www.theenemiesproject.com/nighttimeeconomy
Two collaborations with material engineer Thomas Duggan. The first a poem about the process rendered in pure synthetic silk, that would disappear upon contact with air. The second, a poem about the process rendered in synthetic gold nanorods, exhibited in group shows in London.
Including Vikings: published by POW press (Brazil) and exhibited at Ark (Copenhagen) 2013.
Calligrams: The 5x7 exhibition at the Hardy Tree Gallery - Dec 2013
15 artists provide 15 artworks around postcard size. My 15 artworks are all original calligrammatic representations of animals. Each one is essentially a drawing of an animal in handwriting. Ive played with Calligrams for awhile, pretty much directly following Apollinaire. I've deliberately made them somewhat illegibile, so the handwriting, in places, allows for multiple, interpretative readings of the poems. They are all poems, pre-existing poems, written for the calligram, which will never see the light of day in their non-calligrammatic form, but I want the search for the meaning to be primary in the readers experience. The reader can make their own poems as they have to fill in the gaps between what is legible to them and what is not. Each time the poems are read, they are anew.
The Estates of Westeros: exhibited for Synathesia at Darnley Gallery, London - April 2013
Fights: published by Veer Books (2011) in a second edition (2015)
Visual art online:
Animal calligram series: http://lex-icon21.blogspot.fr/2012/05/lex-icon-blog-project-post-50-steven-j.html
If her last wish were collage series: if her last wish were http://the-otolith.blogspot.com.au/2012/04/sj-fowler.html
Minimalist poetry series Animale Romanesti: http://the-otolith.blogspot.co.uk/2012/06/sj-fowler.html
the Five Points of Basque Loyalty published by Visual Poetry Mail Art July'10
Seven Asemic artworkshttp://the-otolith.blogspot.co.uk/2011/03/sj-fowler.html