Visuals by Mark Fisher / text by Jack Foley, EKPHRAZZ (First Edition) (Buy the book here) This remarkable work blends stunning visuals with evocative prose, creating a unique experience for readers. In EKPHRAZZ, Foley’s words reach deep into the essence of Fisher’s imagery, inviting readers to explore the emotions and narratives that each piece conveys. This first edition not only serves as a testament to the creative collaboration between two talented individuals, but also stands as an essential addition to the libraries of those who appreciate the intersection of art and literature.
INTRODUCTION
By: Ray Miller
Ekphrazz is a derivative of ekphrasis, which is loosely defined as the use of visual art as a literary device. In this work the visuals of artist Mark Fisher provide the inspiration to ekphrastic verse by poet Jack Foley.
While I hesitate to use the words “master” or “genius” (artists generally do not wish to be referred to in such luminous terms), it is safe to say these are completely original creations by both artists. You will find ekphrastic works elsewhere, including Hallmark gift cards, but you will find nothing comparable to this extraordinary collection of images and words.
There is an element of humor lurking beneath many if not most of these works and yet there is an undercurrent of serious themes. Some in fact are deeply moving. Others are merely thought provoking. The artists address the mystery of art itself (“I seek among these streets”), the changing seasons (“October…”), heroes of the diamond (Stickball), a dancing swamp beast, (Hey Kid), humorous clichés (Vanity Plate), an invocation of Jesus’ crucifixion (It is here that Jesus, He is Resin), and an extraordinary poem inspired by John Atkinson Grimshaw’s Tree Shadows on the Park Wall.
There are works of pure humorous delight (Histoire de Babar), images of mysterious domination (Dominus), a juxtaposition of technology on history (Do you remember the city…), a Freudian exploration of motherhood (For Mother’s Day, Recollection on Mother’s Day) and the guilt of a dying mother. Memories of Eugene O’Neill’s play, Long Day’s Journey into Night, collide with Foley’s recollection of his own mother and the complex relationship he had with both his parents.
There is the disturbing story of an artistic young boy obsessed with religion and the image of a girl with a penis (The Artful Darger). He becomes what he sees or imagines seeing. He is habitually angry and eternally discontent. There are angels and demons (Angelos, Yes, in MyYouth) and literary references (Baudelaire, Rimbaud, Verlaine). There is a touching remembrance of a man and poet (Roger Fogelman) who is both gifted and profoundly disturbed. Film references (Yes, my dear Ms. Stevens) are a frequent reference for both Fisher and Foley. There is of course autobiography in varied forms (Good Reason for Fury, Ma and Pa Television) and relatively rare statements of politics (Trump wins in 2024, Feast of the Epiphany). There is a wonderful tribute to Walt Whitman (Out of the Cradle) and, finally, a profound exploration of the artist’s journey (The Struggle is Pointless) toward an understanding of art itself. Its conclusion is at once comical and deeply true.
The combined images and words evoke powerful emotions ranging from inspiration, love and heartbreak to a sense of awe, wonder and, of course, humor. Foley’s words and Fisher’s images are always multilayered and subject to a wide scope of interpretation. They often leave the reader/viewer breathless in contemplation. It is an entertaining journey and one filled with memorable insight. It is the combined work of two completely original artists. It is a work that should appeal to those who are dedicated to all forms of creative endeavor––poets, artists and consumers of art. Jack Foley is a man with a great deal of wisdom acquired in a lifetime dedicated to his art. He has found in the images of Mark Fisher a wonderful source of inspiration.
––Ray Miller (a.k.a. Jack Random), actor, novelist, poet
