Matt Hill
On Hinge Trio
Hinge Trio is a poetic-visual art dialectic produced by the New Mexican artist Linda Lynch, whose ink on paper drawings hinge the poetic “fashionings” of the poet Heller Levinson on the left, and the angular syntax jazz-visioned pulsations of the poet Felino A. Soriano on the right. The first part of the Hinge is given over to the thematic of Pathos: vectors, diameter, tunings, quiverings, the road to Elsewhere. The second part of this unique book depicts the trajectory of With Line(s): density, volume, sway, lament, determination, crossing, motion, and evidence.
The ground of this triune work is what Heller Levinson terms Hinge Theory, which purports to be a means of poetic ‘fashioning”; it is a counter-cultural movement in a “process of prolongation.” Hinge Theory activates the poem or painting with breath fractals that collude towards a “linguistic cosmology”, towards an archeology that enlarges through the hinging of modules. The question to be then asked is: What thus serves as a Hinge pivot? Levinson replies that it is the accidental intercourse between words that serve as “Hinge Events”; poems no longer are poems, but rather become “applications”.
For Levinson, Hinge is a “productive impulse” on the road through pathos; he attempts, through an alliterative seduction laminated in “deliberate disdain”, to evidence the pathos “on the road to pathos.” With scientifically laced phrases disconnectedly cohered, philosophic queries are posed (as in “Can an outline suggest features?”) and found throughout a hyper-driven series of paradoxical lines. There is however, the long fuck-rant poem in the series, which is a Ginsbergesque litany freighted with orphaned yelps; these two pages seem to detract from the overall flow of the poetic process, although the psychopathology that becomes apparent in these stark lines certainly is apropos of the pathos thematic.
Linda Lynch’s artwork in Hinge Trio depicts various versions of the vortex, fluidly moving through visual space, the bold journey-to-the-end-of-the-night black ink drawings gathering the void like Chinese lanterns in a wilderness night. The poetic texts on either side of the Hinge pivot serve as wings to lift the art-body of this book to a high aesthetic level.
The breath-spaced cadences of Felino Soriano’s “spatial architecture” emerge from his listening to jazz while composing his texts; the perceptions become altered by the auralized impact of the music. Through abstracted cut-ups, through a kaleidoscopic symbiosis of image and phrase, at times it seems viscerally driven, an “ekphrastic” vernacular is presented in abstract fragments of these experimental poem-paintings; ontological angles of aesthetic acts interpret what is found within the abstract juxtapositions of the “anti-mundane.”
In Soriano’s lines are found atonal echoes evanescently ascending. There is a “disjunctive synthesis” akin to the poetry of Clark Coolidge and Jackson MacLow here, with the evocatively minimal phraseology looped in faceted reiterations. With even a few hints of Apollonaire’s calligrames, these are picture-poems that have contemporarily been termed Vispo. There is also an almost exuberant use of the page’s white space to ground these phrases; a certain disconnected cohesion serves to cohesively disconnect the abstract from the concrete perhaps. These obtuse fragments are then left to “produce the unfamiliar language of angular syntax.”
For further research, please see the following: hellerlevinson.com, lindalynchstudio.net, felinoasoriano.info
On Hinge Trio
Hinge Trio is a poetic-visual art dialectic produced by the New Mexican artist Linda Lynch, whose ink on paper drawings hinge the poetic “fashionings” of the poet Heller Levinson on the left, and the angular syntax jazz-visioned pulsations of the poet Felino A. Soriano on the right. The first part of the Hinge is given over to the thematic of Pathos: vectors, diameter, tunings, quiverings, the road to Elsewhere. The second part of this unique book depicts the trajectory of With Line(s): density, volume, sway, lament, determination, crossing, motion, and evidence.
The ground of this triune work is what Heller Levinson terms Hinge Theory, which purports to be a means of poetic ‘fashioning”; it is a counter-cultural movement in a “process of prolongation.” Hinge Theory activates the poem or painting with breath fractals that collude towards a “linguistic cosmology”, towards an archeology that enlarges through the hinging of modules. The question to be then asked is: What thus serves as a Hinge pivot? Levinson replies that it is the accidental intercourse between words that serve as “Hinge Events”; poems no longer are poems, but rather become “applications”.
For Levinson, Hinge is a “productive impulse” on the road through pathos; he attempts, through an alliterative seduction laminated in “deliberate disdain”, to evidence the pathos “on the road to pathos.” With scientifically laced phrases disconnectedly cohered, philosophic queries are posed (as in “Can an outline suggest features?”) and found throughout a hyper-driven series of paradoxical lines. There is however, the long fuck-rant poem in the series, which is a Ginsbergesque litany freighted with orphaned yelps; these two pages seem to detract from the overall flow of the poetic process, although the psychopathology that becomes apparent in these stark lines certainly is apropos of the pathos thematic.
Linda Lynch’s artwork in Hinge Trio depicts various versions of the vortex, fluidly moving through visual space, the bold journey-to-the-end-of-the-night black ink drawings gathering the void like Chinese lanterns in a wilderness night. The poetic texts on either side of the Hinge pivot serve as wings to lift the art-body of this book to a high aesthetic level.
The breath-spaced cadences of Felino Soriano’s “spatial architecture” emerge from his listening to jazz while composing his texts; the perceptions become altered by the auralized impact of the music. Through abstracted cut-ups, through a kaleidoscopic symbiosis of image and phrase, at times it seems viscerally driven, an “ekphrastic” vernacular is presented in abstract fragments of these experimental poem-paintings; ontological angles of aesthetic acts interpret what is found within the abstract juxtapositions of the “anti-mundane.”
In Soriano’s lines are found atonal echoes evanescently ascending. There is a “disjunctive synthesis” akin to the poetry of Clark Coolidge and Jackson MacLow here, with the evocatively minimal phraseology looped in faceted reiterations. With even a few hints of Apollonaire’s calligrames, these are picture-poems that have contemporarily been termed Vispo. There is also an almost exuberant use of the page’s white space to ground these phrases; a certain disconnected cohesion serves to cohesively disconnect the abstract from the concrete perhaps. These obtuse fragments are then left to “produce the unfamiliar language of angular syntax.”
For further research, please see the following: hellerlevinson.com, lindalynchstudio.net, felinoasoriano.info