Monochrome & colour pages, Perfect-bound Paperback, 210 x 148mm, 68pp

"While emptiness enjoys a plurality of potentials which result in not-empty, the stage on which the positive presence of anything which might take place occurs, the potentiality which exists in purity is singular and inevitable, rendering the concept of potentiality moot. Purity awaits its corruption, impurity. There is no gradation, no scale—it is a rigid dichotomy. Conversely, emptiness does not long for its opposite, fullness, but instead, becomes alive within the process of becoming full without need of ever arriving. Empty is a house that wants only to be lived in, a poem that wants only to be read, a loneliness that dreams of conversation and the sensuality of touch. And if one introduces an emptiness? How long can it remain so, taking its place in the world? It leaves itself open, patiently awaiting to be woven into the rhythm of consequence."

“And then Archer grabs the inherited stamp pad to give it visual agency driven by the energy of the possessed to lift it out of its inherent passivity to build a visual, textual, and open process of interrogation imaged in the awaiting bowl that cups the potentiality of emptiness brim-full of expectation until reader/viewer full-fills its transformation, its revolutionary possibility like the stamp pad. You’re needed.”

— Brian Dedora, Author of Plague Spot

“In Empty Building, Archer recognizes that poems are always already the embodiment of themselves. The blocks of ink overlay, overlap with the blocks of text. The pages invite and then befuddle reader interpretation. I think about the pad in my childhood library, my mother helping out at our school, the slap slap slap of the stamp on the check-out slips. That memory is in this book, whether Sacha put it there or not.”

— Dani Spinosa, Author of OO: Typewriter Poems

“Paul Klee said “a line is a dot that went out for a walk.” I believe Sacha Archer’s Empty Building is one of the line’s destinations, where the line saw possibilities in itself. Archer uses inkpads as a brush to create his own unique alphabet and markings. He weaves storytelling, philosophy, and personal history into this new collection. If you were to magnify a punctuation mark, you would find the inner wiring of an expansive mind belonging to this true artist and poet. This is your invitation to experience a new way of seeing and reading.”

— Sam Roxas-Chua 姚, Author of Echolalia in Script