Postcards from the edge: Chrissy Core (Canada), Carina Granlund (Finland), Richard Canard (USA)

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Mail-art by Chrissy Core (aka DaDa Witch) (Courtenay, British Columbia, Canada)

All postcards are not mail-art, but some postcards make very good mail-art. Lately we have received some edgy postcards from mail-artists that we are very pleased to be able to share with you now.

First, we offer a big Mink Ranch “Howdy” and secret handshake to Canadian artist Chrissy Core aka DaDa Witch who graces our humble blog with her work for the first time. Chrissy Core’s art is very distinctive and highly conceptual. Much of her work that we have seen so far tends toward black, white and shades of grey. She creates designs that reference woven textiles and/or organic shapes (bio-poetry). At times, they suggest a circulatory system. Single words and phrases function as minimalist poetry, and much of her work qualifies as visual poetry.

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The illustration on the reverse side represents another repeating theme we have detected in Chrissy Core’s work: holes and pipe-like shapes protruding from (or into) holes. So we are thrilled to pronounce Chrissy Core is a practitioner of Holism.

Many thanks, we look forward to more exchanges!

Carina - 10.29 - 1

Mail-art by Carina Granlund (Petsmo, Finland)

Carina Granlund is a dear friend and longtime MinXus-Lynxus correspondent. We were absolutely wowed by her hand-colored photos during the summer. This time she has sent a wonderful, cryptic collage-postcard. American motels and roadside attractions are a recurring M-L theme, so this is a wonderfully appropriate addition to our vast archives, along with a similar Karen Eliot piece she sent some time ago. We like the spacious and pristine appearance of these sites in Finland. In fact, we find them superior to their equivalents in the USA, at least from a visual perspective. They are very enticing and, perhaps this is subjective, mysterious. Carina, with her extraordinary gift for collage, has constructed a partial and indeterminate narrative with these images.

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As the conceptual writers contend, why create text when so much already exists? The reverse side of Carina Granlund’s postcard features some excellent found (and slightly altered) text that adds further to the narrative.

Deepest thanks, Carina! We deeply appreciate that you are staying connected.

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Mail-art by Richard Canard (Carbondale, Illinois, USA)

Many MinXus-Lynxus readers will immediately recognize Richard Canard as a regular and devoted correspondent. We have received some fantastic work from him recently, much of which is being held back for possible inclusion in the much-anticipated “Conceptual Trashpo” essay. We hope to be able to post that soon, but it is requiring some exhaustive research and contemplation.

This Dolly Parton stunner Richard Canard sent us fits perfectly with the edgy postcard theme. Lately, Richard has been writing about his “redneck” roots in the southern United States, even taking a conservative position on the controversial subject of gun control. We highly encourage autobiographical meditation and find his assertions thought provoking. Yet we are compelled to add that Richard Canard has always shown an affinity to PopArt. Even disguised by political rhetoric, there is a strong and consistent aesthetic in his choice of images. Dolly Parton is no exception.

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Sylvester Stallone creates a fine binary opposition to Dolly Parton. All we can recall of the Philadelphia Museum steps, however, is a Rodin sculpture.

Thanks to Chrissy Core, Carina Granlund and Richard Canard for keeping the art of correspondence as well as correspondence art alive and thriving.


MinXus Mail Bag: Asemic writing by E. Coles (Plymouth, UK)

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Mail-art by E. Coles (Plymouth, UK)

We were delighted to receive a lovely envelope from (Ms.) E. Coles in Britain containing expressive asemic symbols interacting with subtle textures, thus producing asemic-vispo hybrids familiar to those who have followed the progress of the Martha Stuart School of Asemic Wallpaper. We believe the fluidity and depth-of-field in these compositions is remarkable.

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These are done on postcard-size sheets. In terms of typology, E. Coles would appear to favor the asemic glyph. Dear friend Karen Champlin (Illinois, USA) and her pieces with glyphs and complex single symbols come to mind as a comparison; however, E. Coles’ work is far more fluid and cursive, suggesting connections rather than the monolithic utterance in the great desert of history: Karen Champlin’s work often has an epic quality. E. Coles included a note that sheds some light on her method of composition:

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Many, many different approaches can be used in generating asemics. A number of friends, Cheryl Penn (South Africa) comes immediately to mind, have worked with backwards or mirror reversed letters. The monoprinting has produced excellent results for E. Coles in these pieces. Here is the envelope:

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The reverse presents a wonderful salute to IUOMA:

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Deepest, even if belated, thanks to E. Coles in Britain!

“Silences” by Dark wall – asemic poetry, visual poetry



MinXus Mail Bag: “3-scrappers” from Nancy Bell Scott (Old Orchard Beach, Maine, USA)

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Mail-art by Nancy Bell Scott (Old Orchard Beach, Maine, USA)

Nancy Bell Scott in New England sent us a stunning missive with wonderful examples of her immediately recognizable work. Above is an altered book page with her beautiful asemic writing and abstract artwork. Like many of us, Nancy developed her technique in the Martha Stuart School of Asemic Wallpaper, which inspired many participants to produce vispo-asemic hybrid pieces collected in the Asemics 16 collaborative books. Here is the reverse side:

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Nancy Bell Scott’s interest in and appreciation of old books contributes to her aesthetic. A very special part of the mail-art she sent is the inclusion of her “3-scrappers.” We expressed some interest in this work, and she generously sent a half-dozen examples. The composition of “3-scrappers” is a chance operation process that provides a form while leaving open the possibility of infinite combinations. Here is her explanatory note:

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And here are the 3-scrappers we are so thrilled to be able to place in the MinXus USA Archives:

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What extraordinarily beautiful object poems! Nancy Bell Scott’s use of old texts and materials bring a wide historical range to her work which is transformed from its context with her colourful, abstract expressionist inspired painting and drawing. Here is what is on the reverse side of the pieces above:

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Nancy Bell Scott’s envelopes are always a treat:

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We are absolutely thrilled to add 3-scrappers to the collection and offer our most sincere thanks to Nancy Bell Scott.

“Neonism #10” by Dark wall

neonism 10#21


MinXus Mail Bag: Vispo & Trashpo from Zalop Maestro Eduardo Cardoso (Sines, Portugal)

Eduardo - 10.3 - 2013

Mail-art by Eduardo Cardoso (Sines, Portugal)

We are thrilled to be able to share this stunning visual poem, “Serpent and Sun,” received from our good mail-art friend Eduardo Cardoso in Sines, Portugal.  He is certainly multi-talented, and this piece showcases his fine stamp work as well as his gift for composing visual poems.  Eduardo works closely on the border between word and image. During the past several years that we have followed his work, we have witnessed the evolution of a cryptic, complex and compelling symbol system. This process continues. We think the mystery of Eduardo’s work, the suggestive quality of ancient and arcane lore, explains, at least partially, the appeal. Eduardo also included a Trashpo piece:

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Eduardo Cardoso has certainly distinguished himself as a skilled practitioner of Trashpo, which is after all a form of visual poetry.  Very much in the style of Diane Keys (Elgin, Illinois, USA), he takes the rejected shards of consumer culture and recombines the elements to create a fascinating visual-verbal composition. His envelopes are always fantastic:

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And the reverse:

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As ever, deepest thanks to Eduardo!

“Neonism 8” by Dark wall



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