Three poems by Martin Stannard

GIMBALS

Petal,

Be my pivoted support that allows the rotation of an object about a single axis.

In engineering, that world neither of us understand, a set of three, they are called gimbals incidentally, one mounted on the other with orthogonal pivot axes, may be used to allow an object mounted on the innermost of the three to remain independent of the rotation of its support (e.g. vertical in the first animation).

And so it goes on, incomprehensibly.

 

TOO MODERN

Petal,

So much is washing around me.
I find that trumpets often sound triumphant
but oboes rarely sound obese. I think
nobody is going to argue with me.

When alchemy regains its popularity
as it’s bound and destined to do
we’ll be one of the first couples to frolic
among the nuts and animal skins of ritual
with all the force of forehead of frog
and stone of plum, because modern life
with all its innovations and irritations
is just too modern.

 

THE SINCERITY SONS OF TURIN

Petal,

Between moments of sobriety your latest beau encapsulates all it means to be a sot. Trust him as far as you can hurl one of your uncle’s steers.

I, on the other hand, belong with the pure of heart and The Sincerity Sons of Turin.

 

 

 

© Martin Stannard, 2016

Martin Stannard’s poetry and criticism have been widely published since the late 1970s. His most recent collection is Poems For The Young At Heart (Leafe Press, 2016).
Website: www.martinstannard.com

Poems For The Young At Heart: www.leafepress.com/catalog/stannard/stannard.html

Departure from Carl

Departure From Carl

 

Ellie Barrett is primarily a sculptor, occasionally underpinning this with video and digital work. Her studio practice investigates the unsettling marriage between material and subject, rooting her work in the sculptural frameworks of mass, weight and space.

Adopting a comic stance, she observes existing yet evasive qualities in crude objects by reproducing them as artworks. Lowly substances – plaster/concrete/rubber – are translated into lowly foods, items and objects. These shapes are observed and appropriated into suggestive works and unexpected shapes into objects which are now readable by the viewer. This line of enquiry is embodied in sculptures which are lurid and sickly as much as they are beautiful and oddly kitsch. Ellie wants her viewer to force their own interpretations onto the work, whilst never quite offering up a sensation of clarity.

Ellie is a current director of The Royal Standard, Liverpool and a Lecturer in Sculpture at Lancaster University. Since receiving her Masters from the Glasgow School of Art in 2012, she has been living and working in Liverpool. Recent exhibitions include HOT / FRESH / SLICE, (solo exhibition, AirSpace Gallery, Stoke-On-Trent) Pivot (Project Cafe, Glasgow), Isla Nublar (Constellations, Liverpool) and Treat Yo Self (Bloc Projects, Sheffield).

http://elliebarrett.com/
@EllieCBarrett

Illustration work by Andrea Popyordanova 2

854

 

Andrea Popyordanova – Drawing is my way of recording the world around me, but also making sense of it. I record with pencils, collage, which I sometimes develop into printmaking processes. My primary interest is illustration, and litterature is a big, but not the only, inspiration. I like to create images that can accompany thoughts ideas, to represent music, and feelings. My work is often described as very experimental and free. My favorite subject at the moment are people.

http://cargocollective.com/andreapopyordanova

Lover///Hater (binary faker)

Lover///Hater (binary faker)

 

PSYCHO (manipulator)

LIAR                     (faker)

ACTOR   (masturbator)

DREAMER     (creator)

SCHEMER (insinuator)

HATER             (chaser)

SAVIOUR         (failure)

BREAKER       (maker)

LISTER SISTER

I’ll be your

I’ll be your

I’ll be your

binary faker

 

 

 

 

Clare Marcie is an actor, writer and theatre maker, originally from New Zealand she now resides in Glasgow. You can next catch her performing at Only Skin Scratch on the 4th May. Her website is claremarcie.wordpress.com

Three drawings by Jennifer Argo

 

Jokulsarlon Big Cartel

Jökulsárlón

 

 

Aperon sml

Apron

 

Origins of Synergy IV

Origin of Synergy

 

I am a visual artist currently living and working in Glasgow, Scotland. I come from the North East of Scotland and studied Photographic Electronic Media at Gray’s School of Art, graduating in 2010.

I am now based at Glasgow Sculpture Studios, and employ a multi-disciplinary practice comprised of sculpture, illustration, photography and installation. I work collaboratively with architects and designers, graphic artists + have hosted many workshops around Glasgow and the North East.

My work has been featured in Grafik, Archdaily, A10 Magazine, and The Grind. I have just been awarded a travel award for a period of research and travel in New Zealand by the JD Fergusson Arts Award Trust, and recently, a commendation from the GIA (Glasgow Institute of Architects), alongside architect Baxendale (Lee Ivett), for a sanctuary space in a Stalled Spaces site run by arts organization Wave Particle, in Glasgow. I took part in Pick Me Up Selects 2015 at Somerset House in London, showcasing a series of illustrative work as part of the annual graphic design and illustration festival. I also led a team of students, architects, artists and creatives last summer, along with architect Baxendale, in the design and build of a sanctuary space as part of Hello Wood’s 2015 Project Village in Hungary.

My sculptural and illustrative work explores an amalgamation of various complex adaptive systems in nature, using the patterns that exist in the physical universe as a metaphor for and community.

I create meticulous hyper-detailed illustrative works, slowing down the drawing process to create emphasis on a consideration of time that extends beyond the here-and-now purview of our current economic and sociopolitical climate. These works explore themes of chaos and order, space and time, at both micro and marco scales in the natural world, and their parallels to anthropological relations that exist within sociological, environmental and political dynamics. My work explores, questions and addresses our social and environmental responsibility.

Facebook: https://www.facebook.com/JenniferArgoIllustration
Twitter: https://twitter.com/jenniferargoart
Instagram: https://www.instagram.com/jenniferaargo/?hl=en
Website: http://www.jenniferargo.com

The Cracking Up of Accepted Sculptural Order

02 The cracking up of accepted sculptural order

 

 

Ellie Barrett is primarily a sculptor, occasionally underpinning this with video and digital work. Her studio practice investigates the unsettling marriage between material and subject, rooting her work in the sculptural frameworks of mass, weight and space.

Adopting a comic stance, she observes existing yet evasive qualities in crude objects by reproducing them as artworks. Lowly substances – plaster/concrete/rubber – are translated into lowly foods, items and objects. These shapes are observed and appropriated into suggestive works and unexpected shapes into objects which are now readable by the viewer. This line of enquiry is embodied in sculptures which are lurid and sickly as much as they are beautiful and oddly kitsch. Ellie wants her viewer to force their own interpretations onto the work, whilst never quite offering up a sensation of clarity.

Ellie is a current director of The Royal Standard, Liverpool and a Lecturer in Sculpture at Lancaster University. Since receiving her Masters from the Glasgow School of Art in 2012, she has been living and working in Liverpool. Recent exhibitions include HOT / FRESH / SLICE, (solo exhibition, AirSpace Gallery, Stoke-On-Trent) Pivot (Project Cafe, Glasgow), Isla Nublar (Constellations, Liverpool) and Treat Yo Self (Bloc Projects, Sheffield).

http://elliebarrett.com/
@EllieCBarrett

Illustration work by Andrea Popyordanova

1

 

 

19-2

 

Andrea Popyordanova – Drawing is my way of recording the world around me, but also making sense of it. I record with pencils, collage, which I sometimes develop into printmaking processes. My primary interest is illustration, and litterature is a big, but not the only, inspiration. I like to create images that can accompany thoughts ideas, to represent music, and feelings. My work is often described as very experimental and free. My favorite subject at the moment are people.

http://cargocollective.com/andreapopyordanova

Fundamental Problem of Translation in 2006 and The Community Garden Beneath the Powerlines Speaks

Fundamental Problem of Translation in 2006

Cars still knuckle-drag the road.
My bike slips sideways. The heron

doesn’t blink its yellow eye, shiver.
The prepared piano rain plinks
across the field between us.
It’s probably hunting gophers.
Long grey feathers lift out

from neck and breast, kids’ arms
so weary with effort

                  they rise without it.
Peter Cole cuts up in my headphones,
Tahaa Muhammad Ali’s anxiety to read
Abdul Jadi Fights a Superpower, lubna
is a white cheese made with yogurt,

and I am lost. The heron thinks—
        but I don’t understand,

any more than I can make flint and steel
from this Arabic. Translation:
find what you need,
                  give it away.
But in the rain, I blend the two:

the heron offers me the gofer, staring
the distance back through my binoculars.

Wisdom is here and there. Its heat
makes wet cuts into landscape,
following the simplest recursive rule,
to move downhill, follow fathers’ choices,
no thought of ocean.

A truck of frozen food
whips my raingear around me.

In my silence, it gulps the gopher down.
Sunbreak, it looks worn to a dirty grey,
given day after day of gophers, binoculars,
semis, scraps
        of our pretty pornography.

 

 

 

The Community Garden Beneath the Powerlines Speaks

It’s time, this time, this time,
every cherry tulip chiming
climbing vine. Petals, hedges

and nest edges with one dream
of lasered wedges and the light that cuts
will finally power down.

How sunlight cottons dresses—folded here
buttoned there, lifts them up &up &out as wind
sighs near. And the quarry’s covered over

in a sea of cherry snow for now
the train outwings the perchbird
o’er I-5. This same sky was dark

for months, while our children
called us cunts and they slowly
pulled apart our rubbered bones.

You dreamed up some bugless farms,
treeless hillsides, robot arms, and
the silted salmon foundered far from sound.

But with Spring we feel re-wound,
and with ease release, with pleasure
as the younglings cuddle up
        beneath our ribs.

These alarms that we’ve long heard
are now taken up by birds
and by summer we stay up
        assembling cribs.

        Oh, the rivers we’ve dug under
curve and weep, the insects thunder

no small wonder no small wonder
no small wonder.

 

 

 

 

Christopher Crew is a teacher, father and (extremely) amateur ping pong player. His poetry has appeared in The Sycamore ReviewThe Marlboro ReviewNatural Bridge and Seattle’s Poetry on Buses. His work is forthcoming in Poplorish, Otoliths, mush/mum, of/with, and After the Pause. He is able to match a song to most any activity a two-year-old can dream up.

Suicidium 801

Suicidium 801

Suicide, from sui caedere among philologists. Eddy Daemon
waxes Rodin’s The Thinker, thin now on unctuous platitudes.
Whip a stiff hanging or saunter to the country for a pesticide
poisoning pastoral. There’s some organochlorine, straight up.
Lest we forget the proverbial firearm. Self-immolation tagged
as a confession grope. Eddys tags a selfie. When a problem
comes around you must whip it, but Eddy’s a wimpy social
phenom of one disviewing the epistemology of a suicidal
ideation. Rodin’s not our waxed, it’s Edvard Munch’s Skrik.
Generalized Anxiety Disorder (GAD) or gadfly? Not panic,
Dr. Daemon, the new discovery is not equalizing. It’s canon
envy as gluten-free diet. Eddy opts for evolutionary mismatch.
N-touch. N-pain. His amygdala wants the sensory data to end.
The death of gray matter, e.killjar by depoison cup of coffee.

 

 

 

 

Daniel Y. Harris is the author of The Rapture of Eddy Daemon (forthcoming from Cervena Barva Press, 2016), The Underworld of Lesser Degrees (NYQ Books, 2015), Esophagus Writ (with Rupert M. Loydell, The Knives Forks and Spoons Press, 2014), Hyperlinks of Anxiety (Cervena Barva Press, 2013), The New Arcana (with John Amen, New York Quarterly Books, 2012), Paul Celan and the Messiah’s Broken Levered Tongue (with Adam Shechter, Cervena Barva Press, 2010; picked by The Jewish Forward as one of the 5 most important Jewish poetry books of 2010) and Unio Mystica (Cross-Cultural Communications, 2009). Some of his poetry, experimental writing, art, and essays have been published in BlazeVOX, Denver Quarterly, E·ratio, European Judaism, Exquisite Corpse, The New York Quarterly, Notre Dame Review, In Posse Review, The Pedestal Magazine, Poetry Magazine, Poetry Salzburg Review and Stride. He is the Editor-in-Chief of X-Peri. http:x-peri.blogspot.com/