116 pages / 6.5" x 6.5"
Pub Date: 5/31/20
Work that toys with letter shapes and illustrates the joyful heart of typography. Meant to be seen more than read, this visual tour-de-force is emotionally engaging, intellectually stimulating, and just plain fun to flip through. Influenced by Mallarmé, Guillaume Apollinaire's calligrammes and Pierre Reverdy's early poems, Sohn explores the page as space and the "image" the poem can leave in that space. His interest is in the abstract or conceptual use of the page as well as the relation between text and image, especially how it plays out in artist's books. Contemporary parallels to his work can be found in Roger Giroux, Anne-Marie Albiach, André du Bouchet and the painter Pierre Tal Coat. —Wet Cement Press
"My words started more and more to spread out over the page, even if they were more or less cemented into place by standard syntax. But as the spaces increased, the words became more and more visible and more and more detached from their meaning. They were on the edge of abstraction but because still words, still stuck with and in meaning. But the more visible—and audible—they became, the more the meaning seemed to be in the way. You couldn't see if you were reading, nor could you read if you were seeing. Or you might see one thing and hear another. It was all material. (In all senses.)" —Michael Sohn