THE ART OF DRAWING ASEMIC WRITING

Writing has never been more exicting than before, although the asemic writing that emerges has to be understood as the amorphous form of any common alphabetical writings. The excitement is even greater when we pretend to be challenged by the ability to read asemic writing as if it were mere ordinary writings. It looks like written in an alien languages, seems like meaningless doodling, a bunch of scribble kind of handwriting yet scrawled without concrete representational meaning or might be composed by any random and various abstract lines with no intentional meaning attached on it. Nevertheless, it may be assumed that it was being written in a language we are not yet familiar with. A handful of terms occurs when people begin responding to words and images then seek to get out of the existing convention of language, namley a written language that has been learned since childhood and blends into our adulthood. Asemic writing intends to explore the field that has not yet been distinguished, when the practice has not yet separated by definition between anulis (writing) and anglukis (painting). Those terms were used by Sanento Yuliman (1941-1992), an Indonesian prominent art critics, words taken from ancient Sundanese and Javanese. Quite similar to the etymology of writing and drawing which is root back to the greek word, such as �graphein� that refer to the act of scratching on surfaces, to write, to draw, to etch, to engrave. People are attracted to the form without the sound of a certain meaning, and free the line of writing as a picture as writing, without having to think about the meaning, neither the artistic nor the aesthetics play of the asemic itself.

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