The Tai Chi diagram (Yin Yang symbol).

During the course of my research into performance and language I have been investigating the differences and similarities between Eastern and Western conceptions of difference, particularly in its clearest expression - binary opposition (black / white, presence / absence, etc.). In the East binary oppositions are represented most famously in the Tai Chi diagram (Tai... Continue Reading →

Recent calligraphic practise

I have been concentrating on research recently but still practise calligraphy every night. Below are recent examples of zhuan shu (篆書) and Kai shu (楷書). I have also dabbled in Bangla calligraphy; I was taught by a Bangladeshi student in Wolverhampton.  And finally I have created some more asemic collages; similar to previous ones but... Continue Reading →

Pen Museum, Birmingham

On Sat 7th Jan 2017 my wife and I visited the Pen Museum in Birmingham's Jewellery Quarter. It's a small but fascinating museum containing traditional nib-making machinery, displays of pens, inks, quills, ornate inkwells and ink blotters, early typewriters and braille equipment... and a lot of nibs. The volunteer staff are friendly and full of... Continue Reading →

Bicycle Poem

I have been interested for a while in the interaction of different surfaces with calligraphic writing. In China calligraphy is traditionally found on objects as well as flat paper, so a variety of surface shapes and textures are interacted with; it may, for example, be found on fans, lanterns, ceramics and screens. By contrast Western... Continue Reading →

New Asemic Work

I have created some new "asemic" artworks from fragments of characters produced while shooting a video on binary opposition and calligraphy (see below figs. 1-7). Asemic writing is an "open semantic form" of writing whose words lack referents. Asemic words are “abstract” in that they lack specific symbolic content, syntax or phonetic components. The term... Continue Reading →

Coloured Calligraphy

Chinese calligraphy is traditionally written with black ink on white paper. Red paper may be used for auspicious posters (red being a lucky colour in China) and red ink is often used by calligraphy teachers to correct students’ work (to distinguish the correction from the error), nevertheless it is true that Chinese calligraphy is almost... Continue Reading →

Letter Arts Review Vol.30 (3)

My essay 'Hybrid Calligraphy' is now available in Letter Arts Review.  There were a few editorial changes to the wording (not for the better in my opinion) but my points remained clear and it does look a handsome publication. Buckingham-Hsiao, R. (2016) Hybrid Calligraphy. Letter Arts Review, 30 (3), pp. 48-53 . $14.50 from John Neal Books (ISSN: 0895-7819)

2016 PhD Students’ Conference

The 2016 PhD Conference was held at 11am - 3.30pm in Room MC301 at the City Campus on Friday 9th September. It was excellently organised by my friend Isi Agdoaye. I presented a paper on my Collaborative Calligraphy performance piece and its relation to my wider research questions (see abstract below). It was well received and was... Continue Reading →

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