Butterfly (for Gertrude)
To B - for Bob Grumman
sleeping i
Below: The Proofreader's Garden (for karl kempton)
Bottom: The Mist
Comments on the Márton Koppány Spectrum
With ease Márton Koppány shatters what is supposed to be what, this or that. Object transforms into symbol expanding to an iconographic message that at times floats in a seen-scape; together they can be read as a pictogram or ideogram.
There are those raised in a setting where each human is a letter in a book already written. In such a book each fragmentation found in Nature is also a letter in the unraveling narrative.
Japanese avant-garde visual poet Kitasono Katue urged poets to drop the pen and pick up a camera. After capturing an object’s moment, the range of possibilities open to transform an object to more than just a thing of and in itself towards a meta-poetic.
Beginning in the 1910s member of the New York Stieglitz Circle ushered iconographic forms into avant-garde frame busting abstract portraiture rising to an exquisite series of expressons in the 1920s and 1930s by members and former members of the Circle.
Beginning the late 1930s in New Mexico, American First Peoples began painting with modern art materials. Many of their abstract iconographic masterworks and such works by other First People groups were sourced from thousands of years of iconographic forms found in rock art and pottery.
Koppány can with some caution be placed in this wider tradition as a frame of reference, the frame he constantly breaks. He spent a few years in the States. English became his language of creative choice. In his hot foundry with many in-sight tools in and on hand, compressed language flows into a spoken and unspoken lyricism.
Karl Kempton, 2017
Márton Koppány
lives in Budapest, Hungary. He has been interested in (visual) poetry and (language) art since the late 70’s. Recent books in print: Endgames, Modulations, Addenda, all by Otoliths, 2008, 2010, 2012; The Reader, Runaway Spoon Press, 2012; The Seer, Redfoxpress, 2017. In anthologies: Anthology Spidertangle, The Last Vispo, A Global Visuage, The Dark Would and The New Concrete. Recent shows include: Text Festival, Bury Art Museum, 2011 and 2014; Asylum, collaborated with Albert Pellicer, Iklectik Art Lab, London, 2017; Foreigners, Bury, 2017.
Márton's correspondence with karl kempton is included in karl's book a history of visual text art (Apple Pie Editions, 2018).
https://sites.google.com/site/booksbymartonkoppany/
https://www.thing.net/~grist/ld/koppany/koppany.htm
(b. 1953)
lives in Budapest, Hungary. He has been interested in (visual) poetry and (language) art since the late 70’s. Recent books in print: Endgames, Modulations, Addenda, all by Otoliths, 2008, 2010, 2012; The Reader, Runaway Spoon Press, 2012; The Seer, Redfoxpress, 2017. In anthologies: Anthology Spidertangle, The Last Vispo, A Global Visuage, The Dark Would and The New Concrete. Recent shows include: Text Festival, Bury Art Museum, 2011 and 2014; Asylum, collaborated with Albert Pellicer, Iklectik Art Lab, London, 2017; Foreigners, Bury, 2017.
Márton's correspondence with karl kempton is included in karl's book a history of visual text art (Apple Pie Editions, 2018).
https://sites.google.com/site/booksbymartonkoppany/
https://www.thing.net/~grist/ld/koppany/koppany.htm
(b. 1953)
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