Text Dispersion

Text Dispersion

Text dispersion through mechanical (Shaker Painting) or technological devices (computer, internet) allows the poet, the would-be-poet or otherwise creative bystander the access and therefore the initiative to produce meaningful word groupings aka poetry.

That the actions occur with volition and with the objective to “express” makes for a dynamic environment to create. 

Poetry initiated through Text Dispersion methods is primarily a group objective, culminating from a random set of circumstances but direct in its effort to be expressive.

Creative group intent is an evocative, resplendent and sublime experience.

The creative action produces immediate results through physical acts and mental focus.

Content generated by the means of text dispersion becomes the substance for group discussions regarding publishing, distribution or other poetic documentation.

Poetry is not only an academic occupation but more importantly a group endeavor enjoyed by professionals and neophytes alike with a focus on stimulating the mind and the senses.

Please incorporate time code and longitude and latitude in the documentation when doing all group Text Dispersion action poetry.

3 Shaker Signs



Gray Kinda Suits

JonMarc Edwards

American (Leavenworth KS. 1959)

Gray Kinda Suits

Mixed media on Canvas

36 x 48 inches 2017

Since deciding to remain obscure and create for the most part in isolation JonMarc has produced work in media that range from small paintings to monumental set pieces. In this mixed media collage on wood panel Gray Kinda Suits* he composes laser cut stencils (mechanical uniformity) on a previously discarded painting to create a dialogue between the gray labyrinthine under-structure of the old painting and the “painterly vibrancy” of the new. 

Rather than choose to destroy or gesso over in its entirety the previous work JM uses this opportunity to create a dialogue between abandonment and revitalization. The colors preform and stand out from the monochromatic gray and in doing so unmask the former painting’s intention; confuse, monotony, languish.

Edwards work evokes the recognizable imagery of Jasper Johns or more recently Christopher Wool. But rather than let the stencil stand on its own merit or function JonMarc uses the ready-made templates and brushy color schemes to obscure past meanings and actions to form new “exertions” between past and present. Edwards reveals the camouflage of ready-made and artistic gesture as tools to help express how even seemingly innocuous an overt art strategies can band together to create vital new works from past miscalculations.

*Grateful Dead title / ref

05) Grey Kinda Suits

Exquisite Pittoresco

Exquisite Pittoresco

My friend Ando Pndlian and I collaborated on a “Exquisite Corpse” piece for a group show at Keystone Gallery in downtown LA. It was a fun experience and the piece we created (see below) was a surprise and extremely inventive. We plan to do more work together!

  Saturday, June 10 at 5 PM
  Keystone Art Space in Los Angeles, California




The Debriti Show in Northampton, MA

June 6, 2017


THE DEBRITI SHOW, An interactive installation by JonMarc Edwards

July 1 – July 22, 2017

Artist Reception: Friday July 14 5-9PM

A.P.E. Gallery  http://www.apearts.org/arc.html

126 Main Street, Northampton, MA

Hours: Tuesday-Sunday 12-5, Friday 12-8

413-586-5553 / apearts.org

“The Debriti Show” is brought to you by A.P.E.’s 2017 summer series ARC, activate, research, create. ARC is A.P.E.’s second curated summer program – continuing the investigation of a contemporary art gallery as an active space within the community. This summer, from June 26 to August 5, 2017, we will host four projects that consist of collaborative performance, a textual interactive installation, video installation/live performance, and immersive sound installation. During each project, lasting one to two weeks, the artist will create and shape work in the gallery space, which will be open to the public through a variety of workshops, performances, and interactive installations.

From July 7 – 22, “The Debriti Show” will occupy the A.P.E. gallery. “The Debriti Show,” created by JonMarc Edwards, is an interactive installation that comments on the power of language and communication. It is set in what at first appears to be an apothecary or medical marijuana dispensary, but rather than weed, it dispenses text, words and poetry. The various typefaces are made from biodegradable materials and sold by the word, poem or weight. Participants of the Debriti Show are encouraged to explore their relationship to language by exploring texts physical form or by asking one of the “word-tenders” for their guidance.  In our current political climate and in a world where much of our communication takes place in 140 character tweets, the Debriti Show could not be more timely!

“Debriti represents a new relationship with language. Debriti goes beyond the inherent “meaning” contained in letter and words and taps into text’s physical concrete attributes and releases an energetic force that can possibly transform your daily life.”


JonMarc Edwards is a Los Angeles-based conceptual artist and painter. He is best known for his work that transforms composed writings into concise, legible pictographic paintings, sculptures and prints. JonMarc has recently finished “The Truth Collection,” an edition of fifty crystal sculptures for Geffen School of Medicine at UCLA. Currently Jonmarc is exhibiting “The Debriti Show! A Textual Experience” throughout Southern California.


closing Debriti Debriti Show 2 copy


Matcha Bar

Matcha Bar

If the traffic gods are with me and I can find parking I stop in at the new-ish “Matcha Bar” on Sunset and get my iced matcha (no dairy) tea. It gives me a quality flow in the morning and is a nice calorie suppressant, no desire for carbs… Alfred’s on the other side of the street is my Plan B, take that traffic gods…


Matcha Bar IMG_1082

Concrete Poetry

Concrete Poetry

March 28 – July 30, 2017

Getty Research Institute

Concrete Poetry Exhibitions are rare so it was exceptional to be able to see a nice collection of concrete poetry related art, books and installations at the Getty Museum. I personally love seeing the Augusto de Campo pieces as he has been a major influence in my own work throughout the years. The scheduled “discussion” was informative but was a little “grey” in that the speakers were mostly talking about the past (feuds and definitions) and slightly patriarchal, where are all the women concrete poets? The evening could have infused more women and younger people into the conversation and discussed where concrete poetry is headed now… as I see it is a viable and stimulating practice.


concrete poetry ad


Wind, Eugen Gomringer


Lygia Fingers

Lygia Fingers, Augusto de Campos

1953, letterpress print

Ewerdt Higlemann

Ewerdt Hilgemann

It was a joy to see Ewerdt Hilgemann’s exhibition at Royale Projects today. Having known Ewerdt’s work for 15 years it was great to see what appeared to be a mini-retrospective, with his signature implosions but also a film from the early 70’s and zero / minimalist sculptures from the 60’s. I was also surprised to see a mural on the east wall of the gallery, Ewerdt has always been politically minded but this was the first overt work that I could say was done with a strong message and personal connection together in one piece, bravo!


IMG_0257 Ewerdt

John McLaughlin, Total Abstraction

John McLaughlin Paintings: Total Abstraction

BCAM, Level 3

November 13, 2016–April 16, 2017

The void is tangible to the soul; the void can move you into the realm of clarity and focus and this feeling is perceptible. Seeing the John McLaughlin exhibition at LACMA was a gift to my spirit and had a calming effect (during these precarious times) not withstanding the touch of “perceptive awareness”. I knew the work very well and had seen many paintings first hand over the years but to see all these McLaughlin’s together under one exhibition was enlightening. As I wove through the exhibition last week for the last time during its run I was aware through ponder and focus that it was giving back, Mc Laughlin’s have an imitable way of exuding creative energy in a way that helped me sort through things happening in my art life. I used the exhibition as a doorway to seek direction and focus in my own work and to this end I once again plead guilty for finding solace from others for my own selfish needs. Yes, when proportion and understanding are achieved to the level of a John McLaughlin painting the void is a very meaningful and energetic place!

5 mclauglin blog

#5 1974. Oil on canvas


J Mclaughlin install LACMA

John McLaughlin Exhibition, LACMA 2017

chairs are unnecessary …! 

A Day at LACMA

During my recent meander through LACMA I decided to briefly reflect in a “bloggy” kind of way on three icons of 20th century art. Three major artist whose work has helped shape how we see and consume (I mean that in a commercial/financial way of course) art but whose stature has been questioned recently as purveyors of questionable personal judgement or simply bad behavior. Perhaps these qualities enhanced their artistic aura and hence give the work an edge and might even help explain their popularity. In a crass way, I am speaking of a misogynist, a manslaughterer and an emotionally detached automaton. I am referring to Picasso, Pollack and Warhol. I, for one am a fan of these artists’ work, as well as their mythic narratives, but I couldn’t help but wonder if their personal lives might at some point force people to reconsider their oeuvre. Will the art market ever price in the emotional and personal costs left in an artists’ wake?

Picasso lacma

Pablo Picasso, Man and Women

1969 oil on canvas


Jackson Pollock, Number 15

1956, oil on Masonite

warhol can

Andy Warhol, Campbell Soup Can

Oil on Canvas, 1964