The thing I like about Tim's new book is that it shows the full range of styles that he is capable of creating. It has some of his line drawing asemics, and his nebulous decalcomania. This is a great general survey of the instincts of an asemic master at work and honing the tip of his pen. "Zen calligrapher" is what I think of this grand author's expressions, as they soar overhead and land in a field of ink and honey. This is the real thing! Get a hold of it and learn.
Writing OR drawing—either category sets up a filter through which we interpret what we are seeing. But if these pages of marks on paper are allowed to exist in the un-coded, uncultivated, lawless area BETWEEN writing and drawing, we have nothing to rely on but our own perceptions. These visual gestures—non-coercive, un-systematized, a-centric—I myself have been looking at them with great interest as visual indications of sound.
Yes, the traces and signs and glyphs by Tim Gaze presented here, come from the wide realm of the "Asemic." This term is common in the area of verbovisual poetry. It deals with graphic works resembling alphabetic writing, but being "other," unknown, illegible too.
We can focus on this:
Any writer, anyone, can really be the one with no (political, social, economic) power. One can really realize and actually grasp, today, what's the meaning of the term "loss" (loss of influence, for example): the alphabetical dominion over men is still strong, but on the other hand the writers have definitely lost their power, and they often get rid of any kind of power, not to mention that they can intentionally deprive their speech of politically oriented superstructures, and of the instinct of prevailing over others' speeches. This means that Baudelaire's and Deleuze's heritage has become the water we can definitely choose to swim in.
But there's a further step consisting in the neverending production of series of signs with faint resemblance rather than reference to any already known alphabetical series of signs. In Tim Gaze's work this kind of resemblance shows brilliant evidences of how the folded parts of our minds work, in making themselves unknown, and still meaningful.
It's like making shadows without starting from "things + sun," or resisting to the action of the light over the objects.
From the Introduction
What are the pieces that writing is made of?
I hope these shapes & signs can speak to people around the world, no matter what kind of writing they were taught as children.
Our ancient, pre-literate ancestors saw such complex patterns as their own fingerprints, markings on plants & animals, geological formations, ripples on flowing water, clouds, & conglomerations of flotsam & jetsam deposited by wind & water. I would suggest that these are much more powerful roots of writing than Sumerian cuneiform, which mainstream Western history says is the beginning of true writing.
About Tim Gaze
I live in the Adelaide Hills of South Australia, between outer suburbia & the beginnings of the countryside. Walking is important to me. A lot of the time, I make, research, publish & share illegible writing. The polar ice caps are melting. It's time to go beyond old patterns of thought.