Grand to have this art poem, on the left page, in the latest issue of Oxford Poetry. Thanks to Lavinia Singer and the editorial team at OP, which has been publishing since 1910. The work will be featured in my debut art book, published by Stranger Press in 2017, called I fear my best work behind me. This is what I wrote to contextualise the poem...
"The poem on the page is first a series of markings made upon a surface. Obvious, but it seems to me a great source of often profoundly underexplored potential for the poet. That is the continued realisation of this fact - of black on white, of colour, material, front, handwriting, of dead and living space, of a computer screen or piece of sliced tree - all that is happening aside from semantic content, and the relation of these things in changing, fluctuating, the semantic meaning and content the poet should worry over.
This work draws from the influence post-war central European avant garde pioneers like Henri Michaux, Christian Dotremont and Constant Nieuwenhuys have had on my work, all of them poets in the purest sense, all too erroneously and conveniently labelled artists. It draws on asemic writing, experimental logograms and illustration but it also a poem in the clearest, anthropomorphic sense"
And from the editorial ... "Encrusted in paper word impasto, this issue of Oxford Poetry celebrates the relationship between the verbal and the visual. Some poets respond ekphrastically to works of art (Richie McCaffery, Jeremy Valentine Freeman Ganem, Pascale Petit, Nancy Posey). Others paint worlds through bold metaphor and surreal imagery (John Burnside, Rebecca Perry, Mark Waldron, Astrid Alben, Martha Kapos) or evoke the subtleties of consciousness, memory and perception (Dominic Hand, Fiona Sampson, Denise Saul). Others step into the realm of visual poetry (SJ Fowler) to shape their words on the page (Chris Kerr, Elaine Feeney)." http://oxfordpoetry.co.uk/