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Recent work by Allen Fisher

BLACK POND project drafted September, 2018.

In 2016 and 2017 I factured a series of large paintings on paper around a black pond on the peat bog at Waun Ddu near Llangattock. Part of the proceedings were filmed and photographed by four different groups and video selections are available through Vimeo and YouTube online (see audio visual page on this site).

1. Working on the dome of the bog2. Working on the Bog indicated by arrow3. Begining work on first sheet.

Drawing around Black Pond on Waun Ddu

Examples from the series were displayed at Arts Alive Wales, Crickhowell in 2017. I also factured Black Pond paintings in my Hereford studio. Following the initial paintings, a series of poems —Black Pond 1-6 and Black Pond 7—was completed and published. This work was preceded by Pond sequence in 2015 as part of the work involved with the simulation of chest surgery via Imperial College Healthcare NHS Trust, London and performed as part of the Cheltenham Science Festival. Since then the opening and first two sets of Black Pond 8 have been published and part of the poem continues to be in progress in September 2018. Details of access to the poetry and art work when reproduced are listed below.

Parts of the Pond sequence appeared in Zarf 11.

Black Pond poems 1-6 have appeared in:

For Robert An Anthology of Writing 

(Poetics Research Centre, Royal Holloway London)

datableed 8, datableed 9 and datableed 10, 

The World Speaking Back To Denise Riley (Boiler House Press), 

The Other Room Anthology 10,

purge 5,

Test Centre 9.

The Black Pond 7 poems accompanied by reproductions of ten related works on paper are forthcoming in a limited edition of 15 copies from Spanner (autumn 2018). The book and the original works on paper will be on show at the Apple Store Gallery in Hereford from 11th October to 17th November as part of Reflections on Peace, Suffrage and the End of War: Photography, Print and Book Arts, an exhibition that moves to the Herefordshire Archive and Records Centre from 10th December until the end of January  2019. I will be reading from the work at the gallery on 13th November. Many of the initial paintings of Black Pond are reproduced in a forthcoming limited edition book of poetry by Clive Bush, arioso, published by Five Seasons Press, in autumn 2018. Some of these reproductions were published on datableed 8 and datableed 9 and in Test Centre 8.

Black Pond 7 final pages 1-22

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NO LONGER ALONE, in 28 sections

available on the following sites:

Blackbox: http://www.manifold.group.shef.ac.uk/issue13/AllenFisher13.html

datableed  http://www.datableedzine.com/allenfishernolongeralone http://www.datableedzine.com/allen-fisher-no-longer-alone-2 http://www.datableedzine.com/allen-fisher-no-longer-alone-3

International Times http://internationaltimes.it/no-longer-alone/

Stride http://stridemagazine.blogspot.co.uk/2016/08/engineer-and-map.html?view=magazine

x-peri http://x-peri.blogspot.co.uk/2016/03/allen-fisher-no-longer-alone.html

and in the following:

Poetry Salzburg Review http://www.poetrysalzburg.com/psr.htm

VLAK https://vlakmagazine2.wordpress.com

Zara http://zarfpoetry.tumblr.com

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Imperfect Fit: Aesthetic Function, Facture, and Perception in Art and Writing since 1950

an expansive and incisive examination of the patterns of connectedness in contemporary art and poetry, with chapters regarding work by Joseph Beuys, William Burroughs, cris cheek, Ulli Freer, Eric Mottram,Charles Olson, J.H. Prynne, Harry Thubron, Cy Twombly.

foreword by Pierre Joris, contributions by Shamoon Zamir and Paige Mitchell
University of Alabama Press, 2016
eISBN: 978-0-8173-9063-1 | Paper: 978-0-8173-5872-3

https://www.bibliovault.org/BV.book.epl?ISBN=9780817358723

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To clear the gunk out: knowledge and meaning in the work of Charles Olson.

A brief text that attends to the matter of knowledge embedded in an æsthetics of patterns of connectedness and uses as an example an aspect of the work of Charles Olson.

Allen Fisher To clear the gunk out

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Confidence in lack, 2007,Writers Forum, Sutton, England.

First of four essays here.

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Monuments to the Future: Social Resonance in the art of Joseph Beuys

Traps or Tools & Damage

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