In this commentary, I want to contrast two artists’ visual prosody. In previous commentaries I have paired an artist and a poet. In this case, both of the writers are artists and have practically never been called poets. Here I am interested in setting Adrian Piper and Hock-E-Aye-Vi Edgar Heap of Birds side by side, and as an heuristic, specifically, two pieces: Piper’s Concrete Infinity 6” Square (1968) and Heap of Birds’ Vacant (1995). My excuse for pairing these examples is not art- or literary-historical so much as it is guided by the motif of a “derelict void.”
I try instinctually to fit the poem into the literary contexts I’m familiar with, and to ask questions about those contexts: in this case, domestic fiction and its stylistic markers (why the generic anonymity of the couple?), the dream/vision tradition (am I supposed to view this through the same kind of lens, perhaps a psychoanalytic one, through which I would view a report of an actual dream?), and the inescapable implication of allegory (what is the “something else” I am supposed to arrive at via the poem?