For Stage 1: please deform any textual “Exhibit” (A-Z) however you like. Each “Exhibit” link includes downloadable text, above submitted deformations. After representing your metamorphosis, please send that to the Undertaker to be posted in this online gallery.
Examples can be found in !Home. If you’d like to learn how to participate, please visit &About. If you have questions, please contact the Undertaker. Little by little, the side galleries of this gallery will grow… Thanks for visiting!
(Click cover to join the Galerie’s Facebook page.)
Reviews of the Galerie de Difformité:
What a work! This complex, mutable, shifting text is criss-crossed with self-referentiality and acts of deformance. Gretchen E. Henderson’s graphical imagination turns original work into found work and pastiche into performance on the page. The “book” explodes across distributed platforms and media, with a digitally networked existence that simultaneously builds on and destroys the integrity of the print object. Henderson’s Galerie is at once the quintessential meta-book and the radical un-making-of-the-book, a fascinating romp and an engaging reflection on how we make what we read in the current environment.
~Johanna Drucker, author of The Century of Artists’ Books and The Alphabetic Labyrinth
A totally enjoyable book! While the Galerie de Difformité speaks for itself, it does so in a raucous chorus—each page a patchwork of questions, prompts, ventriloquisms, and extra matter—the sum of which is uncountable—an ongoing challenge to the finality and good hygiene of the book. I love the messiness in Gretchen E. Henderson’s invitation to visit her, and any number of other ghosts, online, in galleries, and on the page. Got something to derange? Any miserliness a reader feels quickly mutates into an abundance of play.
~Thalia Field, author of ULULU (Clown Shrapnel) and Incarnate: Story Material
Galerie de Difformité is a cabinet of curiosities of things deformed, disabled, reformed and enabled. A choose-your-own adventure that advises and counsels the reader how to change the work itself. Deformity becomes a modality of exploring the literary, the body, and the cultural through various lenses of historical periods and ideologies in which, for example, Dante’s Beatrice metonymically becomes the inspiration for writing ugliness in a series of displacements —a stolen part of remains is turned into a pen which then travels through history to inscribe various kinds of deformity. A book that combines the metacriticism of Tristram Shandy with the randomness of a complex video game, Henderson has created a unique work that aims at being extraordinary, arcane, and eminently accessible. A book you won’t forget.
~Lennard J. Davis, author of Enforcing Normalcy and Bending Over Backwards: Disability, Dismodernism, and Other Difficult Positions
For more reviews, click here.