Andrew Brenza : Evidence of Absence, by Michael Orr

Evidence of Absence, Michael Orr
Timglaset, 2021

 

 

 

Michael Orr’s Evidence of Absence (Timglaset, 2021) is a book of 54 visual/concrete poems organized into three sections. In it, Orr gathers the cultural detritus of the last century (pieces of language, snippets of blueprints, suggestions of graffiti, pieces of technical drawings, representations of medical paraphernalia, images of body parts, particularly teeth) and re-purposes them into new unities that counter the profound anxiety, fear, and despair of the current age.

While it might seem that Orr’s use of this fragmented multitude of cultural, epistemological and artistic reference points might serve to create a sense of meaninglessness or absence by their very accumulation, Orr’s careful hand is able, rather, to create dynamic harmonies of shape and form that offer comfort and pleasure. This isn’t to say that Orr’s work ignores the possible emptiness at the root of the human endeavor, or the tragedy of human failure. Instead, looking at Orr’s work, one has the feeling of someone wandering among the ruins of civilization, gathering the apocalyptic rubble into new orders that are open and indeterminant and that show the emotional and psychological way forward. In other words, the pieces give new significance to familiar visual material, often transforming the sinister into succor. This is the magic of Orr’s work.

In an interview with Piotr Szreniawski, Orr says in response to a question about what he would like to achieve in his art:

“I just want to feel good. I don’t want to worry. I don’t want to be anxious. Maybe selfish but I don’t just want these things for myself, I want everyone else to feel this way too.”

Although this statement would also serve rather nicely to describe the aim of Evidence of Absence, it is worth noting the characteristic understatement and humility present here and in Orr’s work, in general. It is this humility and understatement which underlies the images of Evidence of Absence in such a way as to suggest the kind of generosity and gentleness needed for transformation. In short, Orr’s pieces do not so much invite the viewer into them as lull the viewer into the experience of the images. Looking at Orr’s work, one finds oneself feeling good, less anxious, and it is only after that recognition that one can go back and begin to figure out why. This too is the magic of Orr’s work and the magic of Evidence of Absence in particular.

Lastly, all analysis aside, the poems in Evidence of Absence are simply gorgeous and a pleasure to view. In the words of Sommer Browning, who provided a blurb for the book, “They are dazzling…and they convey how truly beautiful the urge to connect is.” I don’t think it can be better written than that.    

 

 

 

 

Andrew Brenza’s recent chapbooks include Geometric Mantra (above/ground press), Poems in C (Viktlösheten Press), and Waterlight (Simulacrum Press). He is also the author of five collections of visual poetry, Automatic Souls (Timglaset), Gossamer Lid (Trembling Pillow Press), Alphabeticon & Other Poems (RedFoxPress), Album, in Concrete (Alien Buddha Press), and Spool (Unsolicited Press). His newest book, Smear, was released by BlazeVOX Books in March 2021.