Sauntering Verse, a new app for auto-generated poetry, uses Dadaist language to redefine the experience of physical space. In this essay, Lara Norgaard tests the app while reflecting on its implications for our relationship with technology, and the art that it creates. What contexts do we bring to the art we create and consume? What does it mean to be an artist when art is made possible just by taking your phone on a walk?
It is warm and cloudy on the afternoon following the first round of Brazil’s presidential election. The extreme right-wing candidate Jair Bolsonaro received just over 46% of the popular vote—he would come to win the run-off election just weeks later. It feels like the world I woke up to earlier that morning was not precisely my own, as if a body-snatcher stole my world instead of my skin.
The day is a blur: I walk a few meters from the living room to the kitchen in my apartment. Outside the window, the skyline of nearly identical high-rises in the Brazilian city that I call home glint in clouded sadness, weighed down by more than 186 thousand people who voted for a man whom The New Yorker has called a cross between Donald Trump and Rodrigo Duterte. Perhaps he will not win in the second round, but perhaps what is already bad will get worse. This eventuality feels so surreal that I focus on boiling water for a calming mug of coffee. I glance down at my phone. It wrote me a poem:
She skipped it
A rear Jesus
They of them
The sagging can retract or sagging sagging
A quirky staging
She pots him
Illustrator Andrea Popyordanova is Asymptote’s guest artist for the July 2016 issue. Her beautiful collages reimagined scenes from thirteen texts in our Fiction, Nonfiction, Drama, Writers on Writers, and Multilingual Writing Feature sections. Guest Artist Liaison Berny Tan interviewed her about contributing to Asymptote and how she develops her unique imagery.
Berny Tan (BT): The illustrations you created for Asymptote have this wonderful effortlessness about them, even when they’re composed of so many elements within a single frame. Could you take us through your process of conceiving and executing each piece?
Andrea Popyordanova (AP): I usually look at the most powerful descriptions in each text. I trust my intuition—if I vividly remember a particular expression or moment in a text, I visualize that. I start by composing the image in color, and then lay down the details that complete the whole. It’s all very quick, all about recreating a feeling or a striking image in my head. There isn’t really a process; it’s more of trying things until there is an image that works.
BT: You have a great way of visually setting a scene that feels almost like a memory of the narrative itself. In your editorial work, what are the challenges of balancing image and text, especially when you have to capture the text in a static image?
AP: I try to be slightly more analytical. I focus on the point of the text, and emphasize or extend it with my piece. An illustration in a magazine functions as a highlight of what the illustrator thinks is important in the text. I also try to figure out what’s appropriate for the readers of the article, and to match the style of my work to the publication.