<legend> </legend> is a collaborative project of poems and drawings based on text redactions of The Book of Earths, by Edna Kenton, a compendium of theories of the shape of the Earth, and its surrounding folklore.
While the project is rooted in analog works, specifically poems by Justin Petropoulos and ink drawings by Carla Gannis, it grows these texts and images into digital paintings, animations, projection mapped & 3D printed sculptures, as well as interactive works.
The project’s title, <legend> </legend>, is an empty html tag. The viewer/reader must complete the meaning themselves. The definition of the legend is determined by the movement within ones own cartographies.
The first manifestation of <legend> </legend> is a printed volume of the poems and drawings, produced by JADED IBIS PRESS ::: http://jadedibisproductions.com/carla-gannis-and-justin-petropoulos/
Purchase the book here: https://www.createspace.com/4392230
TRANSFER Gallery is pleased to present an exhibition from Carla Gannis and Justin Petropoulos from September 7th through 28th, 2013
In its second manifestation the project expands into the gallery space – a new body of work that spans a variety of media including an interactive redaction application launching at the opening reception.
The project will continue to grow and iterate – before, during and after the exhibition – follow along on these channels:
///////////<legend> </legend> at Writing On It All, Governors Island, June 2013
These began with my line drawing with an app that records my stylus strokes as I listened to poet Justin Petropoulos reading the intro verses to the main poem chapters of our book.
Animations created in response to the poetry of Justin Petropoulos for our collab project .
TRANSFER is an exhibition space that explores the friction between digital practice and its physical instantiation. Transfer supports artists working with digital practice to realize aggressive installation and promote collection of their work.
Transfer Gallery ::: 1030 Metropolitan Ave Brooklyn 11211
JADED IBIS PRESS
Since December 2010 Jaded Ibis Press has gained national attention for its
innovative business model and intrepid ventures into the newest digital
technologies, from interactive iBook to app-novel and beyond. Founding
publisher Debra Di Blasi, poetry editor Sam Witt, and Jaded Ibis authors
and artists have been the subject of feature articles and interviews in
Forbes, Poets & Writers, The Brooklyn Rail, Chicago Tribune, Los Angeles
Review of Books, San Francisco Chronicle, Los Angeles Weekly, Lambda
Literary, Hyperallergic, American Book Review, and many other print and
Jaded Ibis publishes books that do not easily fit into marketing
categories but clearly speak to contemporary society. We promote the
evolution of narrative as it intersects with 21st Century technology. As a
result, our titles appear on college syllabi with increasing frequency.
Jaded Ibis Press enthusiastically seeks projects that utilize digital
platforms as an integral part of the narrative, and multimodal projects
that cannot be effectively published as anything but multimedia,
IN PROGRESS TEXT AND IMAGES FROM 12/2012 to 8/2013
<legend> </legend> is a collaborative project that consists of a series of poems and drawings based on text redaction. The project is rooted in analogue works, specifically poems written by Justin Petropoulos from hand-redacted text and ink drawings created by Carla Gannis in response to the redactions. As the poems and drawings are completed they will be digitally rendered and scaled up for projection on walls, digitally produced sculptures, and interactive works.
The poems and artworks are also slated for their first exhibition at Transfer Gallery and their first publication with Jaded Ibis Press in September 2013. They will be distributed in various formats, each with their own aesthetic integrity. Ultimately the drawings and text will be made into various analogue and digital assets for projection, interaction, audio, ibook and traditional book form. The goal of the project is to explore, in different mediums, the ways people communicate and the relationships that are created in and by various media.
The poems and drawings are inspired by a 1928 publication, which presents different ‘mappings’ of the earth over the centuries, all of them ‘false’ by contemporary scientific standards, but considered “true” in their time and place. The project began as an elliptical journal, a single document with two foci, one textual and the other expressed through drawing, something personal yet bilateral, from a fixed lexical set and attempting to understand what it meant to make something impersonal our own. What emerged was a series of poems and drawings concerned with human relationships to one another and objects; how we (mis)communicate, and in those (mis)communications, how we navigate new personal spaces out of larger automatizing grammars.
At a time when the film between public and private is losing its opacity, so much of how and what we communicate is ‘located’ in or responsible for the production of social spaces. Twitter, for example, is a sociopolitical space with a coded framework, embodied by language. The spaces we inhabit daily, the settings of our lived narratives, like the narratives themselves, are organized by multiple structures: political, socio-economic, and to an increasing degree digital, shaping us as users.
Linguistics and cartography are two of the most powerful organs in the service of these often repressive structures because they are so present, so actively employed, that their misuses are easily overlooked, normalized by time and reproduction, making them increasingly difficult to locate.
Each of us must find his or her own way inside of these structures, which are, by their very nature, averages of meaning and movement. And even though these structures remain relatively fixed, they can be altered by users embedded in the very platforms designed to better manufacture a citizenry.
We resist these forces everyday by winnowing from a whole, someplace we can inhabit, a redaction of a vague entirety into a specific language, which we then code as personal.
Through redactions, drawings, mapping, and interactive digital media we are asking users to recognize all structures for what they are, divisive, even if, like nation-state, language or the internet, their claim is the attainment of “common ground.”
Just as we took a fixed set of terms, excavated, selected, and ultimately reduced our source text to create a new space with new meanings over time, we are asking our users to do the same. Each time they act on a set of inputs—poems and drawings— they generate a new map, more local, private, specific; yet still a fiction of a fiction. Each map generated—keyed in time—charts a re-possessive act, as well as embodying it, which as text and image are paired away, reveals more of the specific user.
To see individual drawings go here.
Grid of Analog Drawings:
Study for Drawing Map Planar