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
- 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
I fear my best work behind me / Stranger Press : 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
New Prim / Hesterglock Press : 2017
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.
Aletta Ocean's Alphabet Empire / Blart Books : 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.
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