Introduction:
artist
and poet, Legio
Legio
writes the hand
into
system.
not
origin
but
transfer
the
mark occurs
between
the mark
and
its registration
velocity
anchors it
signal
passes through
human / machine
machine / human
the
image is not atmosphere
it
is ground
a record
of
something
still
becoming
still.
1.
Hand
tremor.
Punch
card.
Where
does the mark
decide?
When i lived in nyc i used to draw while riding the subway -- ink on paper -- most of my lines were influenced and assisted by the vibrations and shakings of the train car -- sometimes the line-work was completely misdirected by a sudden jolt -- but these misdirections were merely new directions -- maybe i would save certain critical portions of a drawing for moments when i knew that there would be no shaking -- but usually not -- the machine passed its own tremors thru my hands -- the city and the universe helped decide the marks.
+++++++++
2.
A name.
A face.
Who
is the author
When
is the machine visible?
Existing in the shadows is most interesting -- and my shadows are upside-down -- or inverted -- not "my" shadows as i'm not sure that shadows can be owned -- can they be? -- but some of the most handmade looking work is entirely machine generated -- or are they? -- because i found machines that have been lost to time -- that others can't find -- so is my search part of their authorship? -- did the machines find me in order to stay alive? -- reciprocal creative conduits.
+++++++++
3.
Cloud-shaped
void.
Ink falling.
Must
data
be
made heavy?
Unbearable lightnesses, hacked atmospheres, hurricanes of impermanent inks -- fast forward thousands of years and maybe some of these images survive and will be in museums -- not as fine art but as artifacts of an ancient civilization -- hieroglyphs of cloud-compute integrated circuits lined with typographical codes -- puzzles to be deciphered as the future's past.
+++++++++
4.
Page.
Screen.
Model.
What
question
is
still unanswered?
Charles Ives.
MOONLIT CYCLOGLYPHZ 001
Afterword: Reciprocal Tremors
Legio does not speak of authorship as creation but as transmission. The subway tremor is indistinguishable from the hand. The machine is not a substitute for gesture but enters it. The mark is determined not before but between vibration and consent.
Anonymity, for Legio, is not concealment but inversion. He does not hide but redistributes. Authorship becomes reciprocal: the artist finds the machine, and the machine finds the artist. Survival becomes collaborative.
Legio’s clouds are not gaseous. They leak, stain, sediment. He conceives the work not as image but as artifact — future hieroglyphs from a culture that stored its memory in suspension.
When asked what remains unanswered, he offers a name: Charles Ives. Not a theory but a bearing. Ives understood that multiple temporalities could coexist within a single listening. That noise and structure were not opposites but simultaneities.
Legio’s work resides within this simultaneity.
The hand trembles.
The system registers.
Authorship remains open.
Discover more of Legio’s art and visual poetry:
https://objkt.com/@legiox/collections/created
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Laura Kerr is an award-winning Canadian visual artist and poet. In 2012, she was honoured with the Queen Elizabeth II Diamond Jubilee Medal for her contributions to the arts and her long-standing commitment to art education.
She recently sold her art school to devote herself fully to her writing and art practice. Laura currently serves as Vice-President on the executive board of Plug In ICA, a leading contemporary art centre located on Treaty 1 territory in Manitoba, Canada.
For over 30 years, she co-owned and taught at Paradise Art School, specializing in classical and contemporary art education. Throughout her career, she has explored the intersections of traditional mediums and digital technology, increasingly blending painting, drawing, and photography with generative processes.
Her current focus is visual poetry—experimental, image-based works that merge poetic ambiguity with technological play. By using digital tools in process-driven ways, she ensures the artist’s hand remains central—even in collaboration with machines.
She is also developing a body of
experimental poetry criticism, written in collaboration with AI trained on her
own work. These pieces challenge conventional interpretation and embrace
uncertainty, forming a self-reflective loop between maker, machine, and
meaning.
