The following description comes from the event organizer.

This typographical project relies on the past.* Allowing poetry to take visual “concrete” form is a trail blazed by George Herbert (1600s); Guillaume Apollinaire (1800s); Eugen Gomringer and Emmett Williams (1900s); and contemporary poet Aram Saroyan and writer and artist Luis Camnitzer.
My emphasis on black and white typography is a return that is not the "Same" thanks to Dadaism and Futurism in the early 1900s and the typography of Jackson Mac Low and Ian Hamilton Finlay in the 1960s and 70s. These movements challenged the dominance of the black and white newspaper print that governed society with authority; Mac Low and Hamilton Finlay used color and refused linear sequencing.
In so doing, Mac Low and Hamilton Finlay wiped the slate clean and allowed me to return the the simplicity of black and white typeface in order to show the authority of that which makes all language possible – the authority of mystery – the mystery behind language, the mystery by which language is born and creates; the mystery by which our senses of selves are born and create; the mystery of communion through text and image, and in this project specifically, TEXT AS IMAGE.
*Placing the typographical aspect of my art project in historical context came largely from my attending a lecture by the artist and educator Coleman Stevenson, Instagram: Darkexact.