As with many artists in this book of ekphrastic weaves, I was first introduced to Gerhard Richter’s work when I was a child. His overlaying abstract paintings, early “blur” works, his memento mori paintings, and Cage paintings, all imply motion and emotional impermanence for me—a perfect musical in-road for my childhood WWII repeating dream, providing the associative leap I was looking for, what he might call “chance results.” Italicized lines belong to the artist.
Elena Karina Byrne on "REALITY MAY STILL BE UNACCEPTABLE GERHARD RICHTER: A REPEATING DREAM I'M BELLY-DOWN AT ELEVEN" |
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"On Disrupting Your Process"
Poet and essayist Elisa Gabbert reflects on her latest work. "People say, 'Trust the process,' but you can start to trust the process too much. You know what I mean? I was trying to disrupt the process so that I didn’t trust it anymore so I could have that feeling of, 'I don’t know if this is going to work out. I’m winging it.'"
via THE CREATIVE INDEPENDENT |
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What Sparks Poetry:
Jody Gladding on Marie-Claire Bancquart 's [—What did you say? Lost empires,]
"Bancquart’s poems are spare, grounded, and, for all their attention to demise, surprisingly light. Just the thing for a pandemic. This poem with its 'lost empires' and 'catastrophes' counterbalanced by a shrinking soap bar seemed particularly suited to the moment. I was struck by Bancquart’s vertiginous shifts in scope/scale, producing the same effect they do in cartoons—making us laugh." |
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