These pieces are a part of a cyclone of visual texts that address mess and waste. Drawing on clumps of found text, mutilated theoretical treatises on excess and abjection, and a hairy variety of residually-themed reflections on the creation of mess, the poems are the waste-matter of a cut/paste/type/squirt process based in the refusal of sanitized poetic and visual form. Typewriter torture, xerox abuse, and savagery of scissors over ink splashes remain as evidence of meditations on the terror of tidiness. Such tidiness represents the institutional forces of cleanliness that scrub, box, and bleach language and perception into homogeneous, easily-controlled and severely repressed orchestras of obedient vacuums. These poems aim to splat and dribble into controlled space, linguistically, artistically, and culturally, thus embodying a sticky resistance to clean structure and embracing instead the brittle television, the rejected book, the abandoned idea.

Frances Kruk smacks machines in a general fashion in Canada and the UK, wailing into sonic devices and crunching paper through various mechanical and digital teeth and stamping tools. She is renowned for her sloppiness in visual, written, musical, academic, and performative arts, and is also a skilled masochist of mathematic formulas and chemical equations. She has performed and exhibited work on both sides of the pond, and seeks continued immersion in the old word salads rotting in the local landfill sites, always scavenging words, photos, and bits of string for suspicious and unsavoury purposes.