popshot

POETRY &ILLUSTRATION

THE MODERN LIVING ISSUE

POPSH

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W 10

THE AFTERSHOCKPoem by Mike SwainIllustration by Sam Green

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A modern man, like cellophaneLike belly fluff, like daisy chainSuperfluous and trouble freeLike plumbers with a PHDToo much to give, too late to takeA sedative, a well-earned breakResponsible for all the illsOf rape and plunder, porn and pillsLike rubber bullets, ricochetBouncing mullets, Groundhog dayFor modern life, reflects the pastInforms the future, man surpassedBy all that he had hoped to conquerYearned to free, sought to saver A modern man, like lemon juice Like sour grapes, a man obtuseDevoured by his bitter hasteThe aftershock; the aftertaste

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The Aftershock looks at the modern man, whose role has been redefined by the recognition of women’s rights, and the death in many parts of the world of the traditional hunter/gatherer.

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THE EDITORIALAn accepted portal for spouting nonsense.

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Welcome then my wired up cherubs to the 4th edition of Popshot. In the interest of progression and evolution, we’ve added, taken away and changed a few things around for this issue which in our stupidly biased opinion, is a vast improvement. It may be cliche, but upon reflection of the hundreds of collective hours that went into making this issue, we reckon it’s our finest yet with the standard of poetry and illustration taking a rather considerable leap into the canyon of excellence. Naturally, outrageous statements such as these are entirely objective due to the openly interpretive nature of both poetry and illustration, but we hope that on some level you’ll agree.

We’ve also treated you to a series of interviews with some genuinely influential wordsmiths and mark makers, to offer you an insight into their working processes and to hear their opinions on the state of both poetry and illustration today. If gentle voyeurism is your thing, you might want to listen in and learn from some of the hardest working and talented souls in the industry.

As advised in previous issues, this magazine doesn’t benefit from being skim read - it’s no gossip magazine. Should you possess the freedom, pop yourself up against your favourite radiator or on your most adored train route and allow the biro markings and pencil scratchings of some of our most talented contemporary poets and illustrators to wash over you. As always, we would love to hear what you think of the magazine, so should you find the inspiration, please drop a few well chosen words to hello@popshotpopshot.com.

Thanks for reading and enjoy the magazine.

Support your local poet.

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POETRY.IT’S NOT JUST FORFUNERAL READINGS.

THE AFTERSHOCKPoem by Mike SwainIllustration by Sam Green

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A modern man, like cellophaneLike belly fluff, like daisy chainSuperfluous and trouble freeLike plumbers with a PHDToo much to give, too late to takeA sedative, a well-earned breakResponsible for all the illsOf rape and plunder, porn and pillsLike rubber bullets, ricochetBouncing mullets, Groundhog dayFor modern life, reflects the pastInforms the future, man surpassedBy all that he had hoped to conquerYearned to free, sought to saver A modern man, like lemon juice Like sour grapes, a man obtuseDevoured by his bitter hasteThe aftershock; the aftertaste

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The Aftershock looks at the modern man, whose role has been redefined by the recognition of women’s rights, and the death in many parts of the world of the traditional hunter/gatherer.

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SO THIS IS MODERN LIVING?Illustration by Sanna Dyker

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Despite the fact that each and every one of us participates in and endorses modern living, even if unintentionally, what is apparent is that we are all just as baffled by what surrounds us as the next person. Modern living is an utterly bizarre concept made even more so when you’re reminded that it has always existed. Ten years ago, at the time, was just as much about modern living as this year is and in ten years time, it still will be. It is one of the most established and dated concepts, yet is continually updating itself on a day to day, minute by minute basis. New products, discoveries and ideas are constantly being founded and created, and all at a pace that leaves most of us slightly floundering. It is still with childlike bewilderment that one observes giant lumps of metal hurtling through the skies, trains that run underground, tunnels that run under the sea and the ability to speak to someone thousands of miles away, within a matter of seconds. We can access virtually anything, at anytime, from anywhere. Information that once we toiled for, is now acquired by the punch of a few buttons and consequently forgotten as easily as it was discovered. Our brains are overloaded with facts and information that come from a whole host of differing avenues and as a result, our necessity for memory is dramatically reduced. An anonymous soul once said ‘the half of knowledge is to know where to find knowledge’. Hilariously, Google rendered this quote fairly redundant a few years ago.

Relationships have also changed. We now have more ‘friends’ than ever thanks to social networking sites but perhaps spend more of our time isolated than we ever have done before. In the western world we are more connected and in turn, more disconnected than we ever have been. However, don’t let me topple you into a gadget filled, Wi-Fi ready pit of pessimism - it’s not all bad and as a few of our rather eloquent poets discover, there’s something slightly laughable about this modern living melee.

So, this is modern living as we know it, broken up, down and across by 20 brilliant poets and 20 brilliant illustrators who are about to take you on a journey through the confusions, compulsions and complexities of this delightfully bizarre age we live in. Enjoy.

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THE AFTERSHOCKPoem by Mike SwainIllustration by Sam Green

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A modern man, like cellophaneLike belly fluff, like daisy chainSuperfluous and trouble freeLike plumbers with a PHDToo much to give, too late to takeA sedative, a well-earned breakResponsible for all the illsOf rape and plunder, porn and pillsLike rubber bullets, ricochetBouncing mullets, Groundhog dayFor modern life, reflects the pastInforms the future, man surpassedBy all that he had hoped to conquerYearned to free, sought to saver A modern man, like lemon juice Like sour grapes, a man obtuseDevoured by his bitter hasteThe aftershock; the aftertaste

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The Aftershock looks at the modern man, whose role has been redefined by the recognition of women’s rights, and the death in many parts of the world of the traditional hunter/gatherer.

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Illustration by Masha

Rumyantseva

THE AFTERSHOCKPoem by Mike SwainIllustration by Sam Green

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A modern man, like cellophaneLike belly fluff, like daisy chainSuperfluous and trouble freeLike plumbers with a PHDToo much to give, too late to takeA sedative, a well-earned breakResponsible for all the illsOf rape and plunder, porn and pillsLike rubber bullets, ricochetBouncing mullets, Groundhog dayFor modern life, reflects the pastInforms the future, man surpassedBy all that he had hoped to conquerYearned to free, sought to saver A modern man, like lemon juice Like sour grapes, a man obtuseDevoured by his bitter hasteThe aftershock; the aftertaste

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The Aftershock looks at the modern man, whose role has been redefined by the recognition of women’s rights, and the death in many parts of the world of the traditional hunter/gatherer.

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AN INTERVIEW WITH -

PAUL FARLEY-

Described as ‘Paul McCartney meets Philip Larkin’ by The Independent, Paul Farley is arguably one of Britain’s most distinguished practicing poets. Born in Liverpool in 1965, he studied at the Chelsea School of Art before finding his way into writing. Since then he’s won the Sunday Times Young Writer of the Year award, the Whitbread Poetry Award and the Forward Prize. Tom Chatfield spoke to him about life in poetry, teaching and the impact of Liverpool.

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You studied painting at the Chelsea School of Art. How do you feel going to art college has influenced your writing?

It’s hard to tell. I could give an ex negativo justification, and say that it meant I didn’t study English Literature, which I think must usually strangle any hope of poetry. I simply stopped making art and started writing. I liked the way writing felt portable and didn’t require much in the way of equipment or studio space, and this was important to me: between 1988 and now I’ve lived in a dozen different places all over the country, so my twenties and thirties turned out to be pretty peripatetic. But beyond all of these practical considerations, I can only say that I still feel as though I’m making something every time I write, and it’s the same way I once felt about paintings or short films. In my head there’s barely any difference. I get all the same feelings of concentration and immersion and pleasure and frustration that I remember from making a painting. I don’t know how much any of this shows.

You seem drawn to places and landscape in your work: is this fair, and if so, what do you think is it that draws you on?

Yes, it would be fair to say that. Often it’s where I grew up, Liverpool. I have a very strong, very definite sense of that place at that particular time. It’s not simply a memory, more a vivid mental map, and it’s never left me. All poets have their own private mythology, someone said. I’ve written about other places as well of course. It just so happened, especially so in the early poems, that all lines of enquiry, in that way you reach ahead of yourself and follow a thought or a tune, would oft

often lead into that kind of landscape.

Do you feel there are some things contemporary poetry should do, or should try to do?

It should try and be itself. Whatever that is, depending on who’s doing the talking. But that needn’t mean it has to start talking to itself.

You’re the Professor of Poetry at Lancaster University. How do you feel teaching writing influences your work, and vice versa?

It’s hard to say. I get a kick out of introducing students to poems, hearing how they approach them and negotiate them. It reminds you of what the reader does, the reader’s part of the contract. I try and keep teaching and writing separate, but it’s easier said than done, and the border between the two has all kinds of microtonal traffic. I would say that teaching reminds you of how pleasurable a poem can be, and how frustrating when the reader feels locked out.

Do you have a favourite line or poem of your own that you’re especially glad you wrote?

No, I tend to get more excited – I’m sure a lot of writers would say this – about the next thing. I have poems that I like to revisit when I’m giving readings and so on. I think – I hope – audiences like that, a sense of where you’ve been as well as what direction you’re headed in. But apart from that kind of occasion, I don’t go back and look very often. I’m glad I wrote them all, even though I couldn’t or wouldn’t write in those ways about those things now.

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THE AFTERSHOCKPoem by Mike SwainIllustration by Sam Green

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A modern man, like cellophaneLike belly fluff, like daisy chainSuperfluous and trouble freeLike plumbers with a PHDToo much to give, too late to takeA sedative, a well-earned breakResponsible for all the illsOf rape and plunder, porn and pillsLike rubber bullets, ricochetBouncing mullets, Groundhog dayFor modern life, reflects the pastInforms the future, man surpassedBy all that he had hoped to conquerYearned to free, sought to saver A modern man, like lemon juice Like sour grapes, a man obtuseDevoured by his bitter hasteThe aftershock; the aftertaste

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The Aftershock looks at the modern man, whose role has been redefined by the recognition of women’s rights, and the death in many parts of the world of the traditional hunter/gatherer.

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UNBOUNDPoem by Steven UttleyIllustration by Amy Dover

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snatch awaysteal yourself right nowif you can somehow

somehow step away from this play of pretensionthis visceral detentionthis gigantic media sow on which our mind daily suckles

my mind daily buckles under the weight of sight through screenswe live our lives between TV and PCbetween touch phones and hidden scenery beyond a reinforced windscreen,decry the dwindling of overt communication at the checkout,the texting of each other as another shoddy get out

I try to get outand engage intentionally with the worldmy mind teased slightly openby the fern yet unfurledor birdy formations high up overheadbeneath wispy cloud form swirls

disconnect, turn off, unplug and you will seefreedom you good peoplesfreedom to simply be

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Unbound is a poem about technology screening us from reality and the joy of disconnecting from it every once in a while. The poem is dedicated to the recently departed Graham and Christine Uttley.

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MDMAPoem by Daniel SlumanIllustration by Devin McGrath

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We’re floored like snow angels on the carpet;I show you how to roll a cigarette -the delicate origami of tongues and fingersreflected in the glitter-heaped mirror.

Lilly has met you in her dreams before -paranoia or white witch, she has seenyour eyes fizz like coke in a clean glass -your shower fun smile on displayand legs apart like your profile pic -

an invitationto hold that slippery bundle of thighsand slide a hand to the headboard.

A razor-fine line rushesthrough arteries to the air eating heart;a thousand drops of water burst onto skin -flutter tattoos of light from the pores -shadows flinging themselves on the wall.

In the dark the red of our roll-upsswing from lips like fireflies -she would hurl at the sight of our handswhilst our feet stuck to the floor of the bar -how I flicked line after heavy line your way.

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MDMA is an attempt to write an honest poem about drugs, with neither glorification, nor demonisation of the vast culture that surrounds it.

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THE AFTERSHOCKPoem by Mike SwainIllustration by Sam Green

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A modern man, like cellophaneLike belly fluff, like daisy chainSuperfluous and trouble freeLike plumbers with a PHDToo much to give, too late to takeA sedative, a well-earned breakResponsible for all the illsOf rape and plunder, porn and pillsLike rubber bullets, ricochetBouncing mullets, Groundhog dayFor modern life, reflects the pastInforms the future, man surpassedBy all that he had hoped to conquerYearned to free, sought to saver A modern man, like lemon juice Like sour grapes, a man obtuseDevoured by his bitter hasteThe aftershock; the aftertaste

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The Aftershock looks at the modern man, whose role has been redefined by the recognition of women’s rights, and the death in many parts of the world of the traditional hunter/gatherer.

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showing, it’s really opening us up to a new crowd completely. Hopefully that will only be the beginning of things! With this growth in respect has come a growing opinion that being an illustrator is somewhat of a glamorous career spurring on an ever increasing plethora of new doodlers graduating every year. It saddens me greatly to see with that has come an increase in people who pick up on a “style”, call themselves an illustrator/artist/designer and dilute the work of people who work so hard to find that voice in the first place. I know it happens in every creative field to one extent or another but that practise only serves to the detriment of the industry and in some cases it staggers me people have such little inclination for originality. Having said that - I think the future for illustration is going to get even brighter.

What’s the most exciting project you’ve ever worked on?

Commercially - the 17 windows for Selfridges & Nike for the World Cup earlier this year. Personally - my NY solo show in 2007 at Espeis Gallery as it was my first taste of that world.

How do you spend your time when you get round to having a day off?

Getting out of London is always great. I find travelling on trains a catalyst for ideas.

Are there any other illustrators that have an impact on your work or have had an impact on your work?

I’m not sure really. I find inspiration more outside of the industry than in it and I try to avoid raking through all the main industry blogs every day. Having said that, I couldn’t recommend the work of the following people more strongly: Sam Weber, Mario Hugo, Emily Forgot, Parra, Jesse Auersalo, Mat Maitland, Ian Wright, Melvin Galapon, Kustaa Saksi, Non-Format and PeepShow Collective.

This is the ‘Modern Living’ issue so it only seems appropriate to ask you - what is the greatest thing about modern living?

The internet and strong coffee.

What’s next for Hello Von?

Once I have cleared my current commercial schedule I will be working on some new originals for a show coming up at Mall Galleries in Central London and StolenSpace in East London. I’m also finalising big plans for ShopVon (www.shopvon.com) which will take effect towards the end of the year.

Finally, is there anyone you wish to thank or mention?

I didn’t realise this was an acceptance speech! I shall bow out shamefully unprepared.

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You can find out more about Hello Von at his website (www.hellovon.com) and purchase originals and prints from the Hello Von shop - (www.shopvon.com)

Hello Von at Selfridges - Photo by Jane Stockdale

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ROTPoem by Andrew CannonIllustration by Alessandro Maffioletti

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A flush of rusty dishes, mysterious as mushroomsHas sprouted from the houses’ rotting trunks.I’m sure they were not here yesterday.

A crop of dusty bins has popped up from the underworld.Cockily, they prop each other up like drunks,The seed pods of a deep decay.

Fat plastic bags ripen from our hands,Dangling like branded elephantiasis.Hanging helpless, heavy, in the way.

Alarming graphics barnacle our apparel.Logo melanomas, random as bird shit.No-one understands what they say.

The deep mycelium of greed, infective,Burgeons with extravagant and weird fruit.Shooting with the urgent fecundity of wheatIt’s load of regurgitated all-you-can-eat.And a used chocolate-flavoured protectiveIs staining the pocket of a cheap suit.

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This poem came to fruition in a town centre as a result of observing the consumerism and involuntary behaviour of shoppers going about their daily business.

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L IFE BY REMOTE CONTROLPoem by Mark William JacksonIllustration by David Lemm

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Ensconced in the images.Injections from the 40 inchframe across the room.

Bourgeois buttocks comfortableon a lounge cut from old growthforest by third world underaged.

Watch the news for sports updates,interspersed with messages of the latest products, requirements for a new and improved reduced fat life.Abject images are quickly flicked.

Reality TV is an oxymoron.

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Life by Remote Control was written to reflect the disconnection that we in the developed world, have with less fortunate nations. We quickly change channels to avoid any confrontation.

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THE AFTERSHOCKPoem by Mike SwainIllustration by Sam Green

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A modern man, like cellophaneLike belly fluff, like daisy chainSuperfluous and trouble freeLike plumbers with a PHDToo much to give, too late to takeA sedative, a well-earned breakResponsible for all the illsOf rape and plunder, porn and pillsLike rubber bullets, ricochetBouncing mullets, Groundhog dayFor modern life, reflects the pastInforms the future, man surpassedBy all that he had hoped to conquerYearned to free, sought to saver A modern man, like lemon juice Like sour grapes, a man obtuseDevoured by his bitter hasteThe aftershock; the aftertaste

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The Aftershock looks at the modern man, whose role has been redefined by the recognition of women’s rights, and the death in many parts of the world of the traditional hunter/gatherer.

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AN INTERVIEW WITH -

DAVIDFOLDVARI-

David Foldvari is arguably one of the finest editorial illustrators working today. Hard hitting, political and deeply influenced by his Hungarian roots, he’s created work for a phenomenally long list of clients and manages to produce consistently beautiful illustrations. We caught up with him to find out his views on the state of illustration, plagiarism and how he deals with mental blocks.

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First off, name, age, place of residence, years illustrating etc?

David Foldvari, 36, London. I started working as an illustrator around 1998 I think - been at it a little while now. Before that I was designing flyers and record covers for my friends in Brighton and before that I was on the dole.

You’re probably one of the better known Hungarian illustrators. Does being Hungarian have much, if any impact on your work?

I guess there’s not been too many Hungarian illustrators getting noticed recently. There used to be so many Eastern European illustrators working in the 60s and 70s and there was some amazing work around back then. In terms of impact on my work, being from there has definitely influenced what I do but as far as getting work is concerned, I’ve rarely worked for anyone over there. Whenever I do, it’s always a bit of a letdown.

In what sense is it a letdown?

It’s always been one of my aspirations to try to do something with my work in Hungary and just generally in that part of the world but it usually ends up being a nightmare. People are crap at paying and the general state of the design industry over there means that you are given very little creative freedom. Things are changing there now though and there are signs of interesting things starting to happen. It’s easy to forget how good we have it in London, in creative terms anyway. We still have asshole clients of course but it’s nothing compared to what goes on in some other parts of the world.

Since you became involved in illustration, how do you feel illustration as a whole, has changed?

When I graduated in the mid 90’s there was hardly anything around at all, illustration was more or less dead. We had just come out of a recession so everyone was talking about how illustration was dead and nobody had any work etc. But then a whole new bunch of people came along and changed the rules and at the end of the 90’s there was a massive re-emergence. I guess I was lucky in a sense because that’s the exact time that I started out. I think that boom happened mainly because illustrators were really slow to pick up on the whole digital/desktop publishing thing and got left behind. So when the new guys came along, and used all that digital stuff within their work, they kind of re-invented illustration at the same time - people like James Jarvis, Graham Ranthwaite, The Scrawl Collective etc. That illustration boom is what we’re still riding on now...although I think it’s been going a little stale for a while now.

What do you mean by ‘stale’?

I’ve noticed a weird thing happening recently. For a few years in the late 90s/early 00’s, everyone was doing digital illustration, vector stuff, and that’s the work that was considered the ‘coolest’ and best. Then a few

years ago, there was this massive backlash against all that, where everyone rediscovered hand-made stuff and turned against computers. The weird thing is that now, a lot of new illustrators just can’t use any of the digital stuff. They don’t work on computers at all, not through a conscious decision, but more because they can’t be bothered to learn the software which I think is really funny - it’s like going back to the late 80s.

Do you see illustration returning more to hand drawn work as a positive thing or a step backwards?

I think there’s room for everyone whether they choose to work digitally or by hand. It’s great that everyone is drawing and painting and printing again, those are skills that are important, but I also think it’s dangerous to reject the technology that’s there without at least exploring the possibilities. For me it’s definitely a combination of the two things - a computer is just another tool that helps you visualise ideas. If you expect it to make you a pretty picture, it will never work but if you use it as another tool, it opens up what you can do.

There are so many blogs and websites around showcasing illustrators work and a vast number of influences flying in from various portals. Do you ever worry about plagiarism or feel at risk of people duplicating your work?

This is a difficult question. I had a rant about this on my blog a while ago because I found the amount of plagiarism going on to be unbelievable. More than anything, I thought it was depressing that so many people who had this opportunity to create stuff just chose to rip off someone else instead. It’s still a mystery to me as to why people do that. However, I also think that if people are ripping you off, it’s a clear sign that you need to move forward. There’s really only two things that you can do - either moan about it or switch up a gear and go away and invent something new. So on one hand, it’s crap that you can’t just carry on doing the things you love doing because kids are ripping you off but on the other hand, that’s also a sign that you need to be doing something new. By something new, I don’t mean ‘change everything completely’ - it’s more a case of evolution.

Good point. When responding to briefs, do you have a particular method of working through thoughts and ideas?

Yes, I don’t really have a magic formula, it’s always the same thing. I do research to familiarise myself with the subject matter, which normally leads to ideas, then more research based on those specific ideas and that normally leads me to where I want to be. Usually, if the final piece is shit, it’s because one of those steps is flawed.

Do you get many chances to create personal work and if so, do you prefer to work on personal projects or do you like the boundaries of commissioned pieces?

I do have more time to spend on personal work now,