EACHWHAT INDUSTRIES

EACHWHAT is paul hawkins / bob modem:  always under construction
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EACHWHAT Vol. 1




"In EACHWHAT we have a book here of brutish chaos love signs bursting open on natural pages, and philosophic mashed up post-asemic words popping in and out of existence. EACHWHAT takes chances and risks and they pay off. Some pages seem to have been written by a ghost scribe, whose death of meaning timely itches and scratches the broken flesh off its damaged communication. Hawkins, who is a true language architect of ruins, deals out graphic skyscraper shards of expression."

- Michael Jacobson


EACHWHAT Vol. 1 - Paul Hawkins/Bob Modem

ISBN: 978-1912211678

150 mm x 230 mm
60 full colour pages
PDF £8 buy
paperback £16 + p&p buy
signed paperback (ltd copies) £18.00 (inc. p&p) buy
when ordering, please leave me a note saying which version you’d like, along with your address . . .



“Despite its asemic and arhythmic visuality, these pages bang semantic bin lids on quasi-utopian semiotic pavements with titles like ‘be a potential parasite in the clean capitalist body’ and ’official secrecy is the occult reality’ and ‘their happy threats rust’. Hear here.” - Kimberly Campanello

Published to coincide with the Blackpool Illuminations KF&S Press exhibition Sept. 2020
EACHWHAT Vol. 2 will be published by Knives Forks & Spoons Press in 2021

included is this short essay;
A word on Poem Brut
“How vain is it to think that words can penetrate the mystery of our being.Rightly used they may make evident our ignorance of ourselves, and this is much.”
- P.B. Shelley

Becoming involved with a project (school of, movement, whatever) called Poem Brut has had an exciting and profoundly positive effect on developing new ideas about how, what, why I make things. Poem Brut takes it’s cue(s) from the COBRA movement, whose main focuses were partly abstract, the use of vibrant, brilliant colour, fierce brushwork and contorted human figures, often inspired by naive, primitive folk art, non-western tribal art, the creative art of children and outsider art ( with an emphasis on neurodivergence ). Experimentation with materials, methods and forms were essential, radical elements.
    Poem Brut is an exploration of artistic creative writing - poetry and colour, handwriting, composition, abstraction, scribbling, illustration - a project that affirms the possibilities of the page, the pen, the pencil in a computer age. It’s curated by SJ Fowler, and has, to date, generated over a dozen live events, nearly 100 commissions, exhibitions at The Museum of Futures, The Poetry Society and Rich Mix and a series of brand new books, Poem Brut has offered an alternative understanding of 21st century literature, collaboration and performance, since 2017.
    Personally I’d been feeling a growing dis-ease with the more mainstream, traditional forms of an overtly Parnissian Poetry, to the extent that unlearning these ancient rules became all-important to me. In All Religions Are One, William Blake complained that he couldn’t express himself in verse: “No man can think write or speak from his heart, but he must intend truth. Thus all sects of Philosophy are from the Poetic Genius, adapted to the weaknesses of every individual”. Furthermore, Blake’s Doors of Perception was an opening up, a personal revelation. Poem Brut was beginning to open doors of expression for me.
    I’ve been fortunate to be involved with Poem Brut either as a performer, an artist, an audience member, as a collaborator or as a publisher, since 2017. This new Poem Brut-ish approach, gradually developed (and is still developing) through engaging with poets/artists/performers such as Khaled Hakim, Jacqueline Ennis Cole, Mischa Foster Poole, Saradha Soobrayen, Patrick Cosgrove, Sarah Dawson, Michael Sutton, Stephen Emmerson, Martin Wakefield, Iris Colomb, Julia Rose Lewis, James Caley, (and many, many more) who are part of Poem Brut events, exhibitions, readings, book launches etc began to feel right, exciting, inspiring, supportive. It became a rich site of collaboration and imagination. I stopped following so rigorously what I had learn’t and felt a sense of satisfaction. Of coherency. And that’s important to me.
    I admit to having to regularly remind myself that poetry, artistic creative writing, Poem Brut etc should not be taken too seriously and certainly by itself is never going to change the world for the better. Let’s not kid ourselves. And it isn’t the only or even the main way I attempt to communicate how understand the world. Far from it. But it does play an important role, like a pressure-valve does. I’m no stranger to the mental health industry. I have a diagnosis of Borderline Personality Disorder, which impacts hugely on how I understand the world, how I engage with it, how I operate within it and with other humans, other structures. So it follows that it impacts on how I make art in the chaos of the 21st century. I tried to put this into words in the introduction to a book I wrote called Place Waste Dissent around 5 years ago, that this re-calibrating, this re-wiring is ongoing, it’s a work-in-progress . . . (that ) there is, in the main, discordance, with moments of incredible excitement, possibility and beauty; a negotiated, collaborative, experimental serenity (however momentary).
    The next collection of work-in-progress is this book: EACHWHAT Vol. 2, a Poem Brut-ish culmination of the gestural, the instinctual, the scribbled and the scrawled over the past few years. I’m confident that EACHWHAT Vol. 1 won’t be widely read, but don’t let that stop you. I’m proud of it. EACHWHAT Vol. 2 follows in 2021.
More info: www.poembrut.com
- Paul H / Bob M