pheromones
Mark Young
80 8.5" x 8.5" pages
Published by Sandy Press
ISBN: 979-8994936894
URL: Amazon
Available on Kindle ($US6.00) and in paperback ($US19.95)
Mark Young’s fascinating new collection of visuals, pheromones, contains works of very different styles, but a deep sense of humor (of understatements) is a common denominator. In the opening sequence, variations of mazes are paired with Samuel Beckett titles, and playfully referred to as endless Uber voyages. (I tried to replace two titles with each other: they worked a lot worse.)
Some of the works in the book are partitioned into color fields and based on dialogue with their titles and with the words (oftentimes word games) written into/across the fields. In Opprobrium “Justice /just is/ unscaled”. As much as a joke, it is also the realization of a truth.
Others are expressive freehand digital images like Will he wake?, where a framed question mark is surrounded, outside the frame, with a few dots (berries? full stops? blood drops?), and curves (elementary signs of presence?).
Young’s visuals get their poetic force from the multifaceted (dis)connection between titles and images. The effect is a motion of the mind in-between, back and forth. One of my favorites in the book, La Sagrada Familia, consists of nothing but pixelated shapes and dark gaps between them, but it becomes a mysterious, low key reference to the basilica. The only difference is, that while the basilica is still in the making, Young’s piece feels fully completed.
—   Márton Koppány
pheromones by Mark Young is a wide-ranging collection of visual poetry in which words, images, typography, collage, color, and abstraction continually interact. The book moves freely between minimalist word constructions, digitally manipulated photographs, geometric abstraction, found imagery, and text-image collage. Young treats language not simply as something to be read but as visual material: words are displaced, fragmented, condensed, repeated, erased, or placed in unexpected relationships with images. Pieces such as "The Tenth Word," "A Small Fugue," "Bashō Condensed," "divulge," and "Einsteinium" demonstrate how a few words, or even individual letters, can generate associations that move simultaneously through poetry, humor, philosophy, and graphic form.
Throughout pheromones, Young draws upon an unusually broad field of cultural references. Samuel Beckett becomes the basis of the comic "Beckett List," which transforms titles such as The Unnameable, Krapp’s Last Tape, Malone Dies, Waiting for Godot, Endgame, and Watt into a sequence of works involving "Uber." Elsewhere, the book invokes or plays with Bashō, Bach, Burroughs, Rembrandt, Saint John of the Cross, de Chirico, Goya, Rauschenberg, Whistler, Man Ray, Philip K. Dick, and figures from popular culture. These references are rarely straightforward homages. Instead, Young subjects cultural history to punning, substitution, juxtaposition, fragmentation, and visual transformation, allowing high art, literature, music, popular culture, and everyday language to occupy the same imaginative space.
The collection is also notable for its sequences, which give the book a larger structural rhythm. "The Calculations" develops a related visual vocabulary through "abacus," "Burroughs," "computation," "proration," and "substitution." Another sequence, "Scenes from the lives of the pepper trees," takes its overall title—and the titles of its individual pieces—from the poem by Denise Levertov: "Cats are stretching in the doorways," "Berries of modest red," "Marimba, marimba — from beyond the black street," "Let him sleep," and "Will he wake?"
—   harry k stammer








