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Aperture
APERTURE was made by hand using dry-transfer lettering, without the use of computers, and subsequently digitally recoloured. Once ubiquitous in graphic design and advertising from the early 1960s to early 1990s, dry-transfer lettering been relegated to use by artists and hobbyists. At one point a specialized tool with an expensive price tag, dry-transfer lettering was used in graphic design and technical drafting, in order to standardize graphic elements, eliminate the individuality of the artist’s hand, and speed up the creative process. As dry-transfer lettering ages, it cracks and ripples, becoming less pliable. Letters no longer adhere to surfaces faithfully; they flake and crumble, crack and crumble. These poems reflect that lack of cohesion; the letters crumble away from meaning, leaving rough traces of what could have been meant.
“Imagine Rothko with Letraset, Rorschach as a synesthesiac suprematist, or the aurora borealis viewed from Willie Wonka’s great glass elevator, and you’re some way towards the beautifully delirious polychromatic drench that is derek beaulieu’s Aperture. Operating at the ragged perimeter of language, beaulieu sends back glyphs, graphemes and glitches, strange news from other stars. Aperture is apt: each page is an opening into a dimension at once contingent and perfectly ordered, fragmented yet geometric, abstract yet coherent. Aperture is not so much a book as an experience, an irresistible technicolour tide.” — Tom Jenks
“Imagine Rothko with Letraset, Rorschach as a synesthesiac suprematist, or the aurora borealis viewed from Willie Wonka’s great glass elevator, and you’re some way towards the beautifully delirious polychromatic drench that is derek beaulieu’s Aperture. Operating at the ragged perimeter of language, beaulieu sends back glyphs, graphemes and glitches, strange news from other stars. Aperture is apt: each page is an opening into a dimension at once contingent and perfectly ordered, fragmented yet geometric, abstract yet coherent. Aperture is not so much a book as an experience, an irresistible technicolour tide.” — Tom Jenks
56 pages, Paperback
Published April 1, 2019
1 person want to read
About the author
Derek Beaulieu
52 books17 followersFrom wikipedia:
Derek Alexander Beaulieu (born 1973) is a Canadian poet, publisher and anthologist.
Beaulieu studied contemporary Canadian poetics at the University of Calgary. His work has appeared internationally in small press publications, magazines, and in visual art galleries. He has lectured on small press politics, arts funding and literary community in Canada, the United States, the United Kingdom and Iceland.
He works extensively around issues of community and poetics, and along those lines has edited (or co-edited) the magazines filling Station (1998–2001, 2004–present), dANDelion (2001–2004), and endNote (2000–2001).
He founded housepress in 1997 from which he published small editions of poetry, prose and critical work until 2004. The housepress fonds are now located at Simon Fraser University. In 2005 he founded the small press no press.
In 2005 he co-edited Shift & Switch: new Canadian poetry with Angela Rawlings and Jason Christie, a controversial anthology of radical new poetry which has been reviewed internationally.
Beaulieu has shifted his focus in recent years to conceptual fiction, specifically visual translations/rewritings. His book Flatland consists of visual patterns based on the typography of Edwin Abbott Abbott's classic novel Flatland and his book Local Colour is a series of colour blocks based on the original text of Paul Auster's novella Ghosts.
How to Write, a collection of conceptual prose, was published by Talonbooks in 2010.
Beaulieu lives in Calgary, Alberta.
Derek Alexander Beaulieu (born 1973) is a Canadian poet, publisher and anthologist.
Beaulieu studied contemporary Canadian poetics at the University of Calgary. His work has appeared internationally in small press publications, magazines, and in visual art galleries. He has lectured on small press politics, arts funding and literary community in Canada, the United States, the United Kingdom and Iceland.
He works extensively around issues of community and poetics, and along those lines has edited (or co-edited) the magazines filling Station (1998–2001, 2004–present), dANDelion (2001–2004), and endNote (2000–2001).
He founded housepress in 1997 from which he published small editions of poetry, prose and critical work until 2004. The housepress fonds are now located at Simon Fraser University. In 2005 he founded the small press no press.
In 2005 he co-edited Shift & Switch: new Canadian poetry with Angela Rawlings and Jason Christie, a controversial anthology of radical new poetry which has been reviewed internationally.
Beaulieu has shifted his focus in recent years to conceptual fiction, specifically visual translations/rewritings. His book Flatland consists of visual patterns based on the typography of Edwin Abbott Abbott's classic novel Flatland and his book Local Colour is a series of colour blocks based on the original text of Paul Auster's novella Ghosts.
How to Write, a collection of conceptual prose, was published by Talonbooks in 2010.
Beaulieu lives in Calgary, Alberta.
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