Typed computer version 2007, German poem 2011
Etching (29 cm width x 37 cm height, framed: 43 cm width x 51 cm height) and poem, English and German version, unpublished
Poster: height 85 cm x width 60 cm
2011, Ury created visual images of 17 concrete poems, to be presented online and as print versions (23.5 x 32.45 cm), digital image processing Mirco Sanftleben, two of these poems being femininity and femininiation, the rest being part of the series cement, weißer neger (white nigger), concrete party & oral call, cross word, toned poems, two toned, pommes, taste of space, leeres archiv.
This poem dedicated to Tanya Ury’s sister Nini, whose name is contained in the word femininity, first saw life as an etching and early student work of the artist when she commenced her BA HONS in Fine Art studies in 1984, as a mature student.
The written (and etched) form of the poem is that of a fan. The poem itself is an alliterative meditation on the letter and sound of “f” (and “ph”).
femininiation, a German poem written in the form of a fan was completed in 2011. The poem is an alliterative meditation on the letter and sound of “f” (“pf“/“v“ and “ph”)
In its style and intention the concrete poetry is a collection of jumbled, abstract ideas that reflect the day-to-day life and mood of the artist. Above all, it is improvised and written down immediately — in essence it is automatic writing.
Tanya Ury’s written poetry may be regarded as “concrete” because of its visual design, and unconventional aural effect when spoken — the texts thereby gain in dimension beyond accepted meaning.
Ury has also created other artworks that might be considered visual poetry. Moving Message 1992, incorporates an LED sign displaying the words: you are why; Sonata in Sea 1999 – 2000 is a photo series combined with poetry and wrestlewithyourangel 2001, is a neon sign produced together with the neon sign neonazi 2001; the title of a double photo portrait lesser is me more or less 2003 plays on the name of the German Post-Impressionist Lesser Ury, as does the title of a further double portrait or else 2007, which refers to the German writer Else Ury. The title of a third photo-portrait Beelzebularin 2005 (in the Promised Land series) reveals itself to be an anagram of the biblical Bezalel Ben Uri. half dimensional — semi detached 2010, combines the first of the half dimensional poems with the photograph semi detached.
concrete – a collection of works (including poetry series)
- femininity – femininiation 2011
- Moving Message 1992
- Word-fore-play – Recipe for Love 1995
- Sonata in Sea 1999 – 2000
- wish 2000
- wrestlewithyourangel 2001
- neonazi 2001
- Poker Poems 2003
- elle la poésie 2003
- lesser is me more or less 2003
- Promised Land – a collection of works 2005
- Mid Summer 2005
- Un 2006
- or else 2007
- half dimensional poems 2009 – 2011
- half dimensional – semi detached 2010
- cement (Befestigte Gedichte) 2011
- on a mat appear 2011 -
- Lost Poems 2011
- weißer neger (white nigger) 2011
- informed 1.3.2011
- concrete party 2011
- oral call 2011
- cross word 2011 – 2012
- toned poems 2011 – 2012
- two toned 2012
- pommes 2012
- taste of space 2012 – 2013
- leeres archiv 2013
- archive burn out 2011 – 2014
- hero of your own saga 2013 – 2014
- magical reality 2014 – 2015
2012 (11.6) Tanya Ury is the featured artist with new works in the June edition online of Imaginations: Journal of Cross-Cultural Image Studies, University of Alberta, Canada, with Videos: Intimacy, cement & dark room; a series of 17 concrete poems, the photograph Alibijude, Selection from the Who’s Boss series, and 8 photos from Soul Brothers & Sisters, also 3 photos of Occupy in Strasbourg, from the Fading into the Foreground series; furthermore 5 toned poems (sounds, music and sound mix Kasander Nilist) and a peer review interview (text and Skype video) with Claude Desmarais, (CA)
2013 (11.7. – 7.9) “Righting the Image” — The Literature Collection in Cologne (LiK) and the Cologne City Library, present an exhibition of Tanya Ury’s work including femininity & femininiation.
1984 Etching (29 cm width x 37 cm height, framed: 43 cm width x 51 cm height) in private collection Nini Ury, Vancouver (CA)
2014 femininity, poster (height 85 cm x width 60 cm) in private collection Reem Akl, Beirut (LB)
2014 femininity, poster (height 85 cm x width 60 cm) in private collection Nini Ury, Vancouver (CA)