In 2013, Edward Povey and Tolar Schultz began to collaborate in painting. Together, they built a new concept combining abstraction and liminal figuration, documented by Italian Museum Curator Giuseppe Bachi; and the Former Head of Public Policy of BBC Wales and Deputy Chair of Artes Mundi, Huw Roberts.
The theory is based upon the notion of Asemic writing, which is a wordless open semantic form of writing. The word asemic means "having no specific semantic content," or "without the smallest unit of meaning." With the non-specificity of asemic writing there comes a vacuum of meaning, which is left for the reader to fill in and interpret. Asemic writing offers meaning by way of aesthetic intuition, and not by verbal expression. It often appears as abstract calligraphy, or as a drawing which resembles writing but avoids words, or if it does have words, the words are generally damaged beyond the point of legibility.
It is not the meaning but the essence. The perfume of the content. Not the rose but its scent.
Professor Irving Biedermann from the University of Southern California has explored human beings’ ability to discern meaning from even scrambled and degraded writing. Irving Biedermann’s work is the concept on which ‘Facial Recognition’ is based, and also - online when you are being analysed, to see if you’re a robot, and you have to interpret those partially scrambled words? That’s also a part of Biedermann’s work.
It’s all founded on exploring human beings’ ability to somehow intuit what a thing is, from seeing only parts of it - like a man behind a ladder or a bush: we still understand the human form even though it is partial.
In the paintings you don’t see but ‘feel’ the source text's presence in the painting. It’s a sacred thing. We have found no one else making paintings using this technique.
Please click on a thumbnail below to view full image.