1 - What does Visual Poetry mean to you?
For me, visual poetry is the poetics of the image. By articulating signs, symbols and signals, I am seeking a visual language of semiotic communication that dispenses with the redundancies inherent to verbal poetic language and creates its own syntax.
2 - Who were and/or are your sources of inspiration, your models (either poets or artistic movements) in this artistic medium?
Since I was a child, I’ve been fascinated by comic strips. Joe McManus’ work dealt with the relationship of a couple in settings where the cartoons were three- dimensional and elements leapt off the screen to interact playfully with the characters. For me, it opened up the prospect of producing three-dimensional paintings that interact with their environment in a playful manner.
3 - Why did you choose to create, or why do you enjoy creating, Visual Poetry as one of your artistic expressions?
Visual poetry opens up the possibility of working with the audience’s participation, including a playful, ludic aspect. There is no limit in the media used to create visual poetry and there are no pre-established techniques imposed by social pressures. This provides more opportunities for expression and communication with the audience.
4 - When did you first adopt Visual Poetry as a mode of expression?
I have worked with attempts at expression through visuality since 1965. In 1966, I began producing visual poems, code poems, and acrylic object poems. While keeping in touch with discussions of the Poem/Process, a movement I helped found, I began centering my poetic creativity around processes. For me, the poem is an outlet for the semiotic process it encapsulates.