Reader Meet Author:Felino Soriano

The best description that I have found for ekphrastic poetry is "the conversation between two pieces of art". I know typically is involves a writer focusing on visual art, but in the world of Orange Alert I like to let my mind wonder and image musicians composing piece based on classic works of art or painter interpreting a poem. California poet Felino Soriano has dedicated 2009 (and perhaps beyond) to working in this interesting format. He is using the internet to hunt down images the he feels have a story to tell beyond paint and canvas. We get a peak at what Soriano has accomplished and the hundreds of poems he has completed in the new book from Calliope Nerve Media, Apperceptions of Reinterpretations.

Recently, Felino was kind enough to answer a few of my questions.

Orange Alert (OA): Apperceptions of Reinterpretations is an incredibly ambitious project. How did you select the pieces of art that you wrote about?
Felino Soriano (FAS): As I began to realize my desire to begin an ekphrastic series of poetry, I became aware of the infinite styles and voices available to me in regards to paintings. The internet has given me an abundance of options, and indeed has inspired the majority of the paintings my poetry attempts to interpret. My physical location does not define itself as artistic, and therefore perusal of many paintings is not readily realistic. I must state, too Apperceptions of Reinterpretations is but a small collection of the fuller work-in-progress: my series called Painters’ Exhalations. I began this series on 1/9/09, and have thus far completed a total of 503 poems.

While searching for paintings to interpret, various languages of what I examine determine the need to evaluate its body. Colors, textures, voice, positional definitions of ideas, etc., speak into my brand of listening, a dedication into realization that the painting has found my desire to become its acquaintance.

OA: Would you say these poems are inspired by art or more descriptions or inner stories of the pieces?
FAS: The inspiration lies within the opportunity of interpretation. My description of visual aliveness before me are the figures of imagination and language, combining within a cohesive environment allowing shape to overwhelm the white space of absence. The painting can exist, alone. A poem can also exist, alone, but in the case of ekphrastic poetry, the unification of both arts must become the birthing causation of what subsequently occurs.

OA: You dedicate your collection to Duane Locke, how has he impacted your writing and your way thinking?
FAS: Duane is whom first I consider a friend. He is extremely kind and generous within his legacy of an extraordinary existence. As a poet, my opinion states he is very much within the realm of genius, and also, the finest of living poets. Lastly, he is my teacher though we’ve never met in the aspectual reality of face-to-face. I’ve learned so much about music in poetry, imagery, enjambment, and environmental awareness through reading his work. The metaphysics of my poetry are determined through investigation, which Duane has taught through an understanding that a poet is a rarity among the walking-while-blind.

OA: How are things going with Counterexample Poetics? The site has a very specific focus, how do you determine if something meets your guidelines?
FAS: The journal is expanding into the focal point of my original intent. The focus of Ce P is to showcase artistry which examines itself under the influence, existence, and authenticity of experimental. This term becomes broader, as alive comes “philosophical”, “difficult”, “esoteric”, “oblique” post-postmodern”, “avant-garde”, and other terms either self-given or through the desired naming of an other’s-definition. Ultimately, the work that parallels my preference is absent of cliché.

OA: Do you feel there is inherent connection between art and poetry?
FAS: There are intrinsic qualities vis-à-vis poetry and painting, I feel, solely if investigated. A poet may not become inspired by a painting, even of the paintings subjectively considered masterpieces. The poet is an observer. Philosophically, this dictates an existence of metaphysical paradigms leading to defining surroundings through a multitude of hidden realities. These realities explain themselves to me, and are constantly asked to be described antithetically to an au courant brand of defining their presence.

OA: What's next for Felino Soriano?
FAS: I plan on continuing with my Painters’ Exhalations series. Though, like my poems themselves, I haven’t a [preconceived idea] into how many more I will write. An alteration of writing style may become evident, thus changing my directional desire into writing of different subjects. Next year, I plan on writing suites of poems revolving around jazz albums. Last year, I wrote in this format after Miles Davis’ Kind of Blue. The poem covered all five tracks, and finished itself as an eleven page poem. It is currently published in BlazeVOX’s 2k9 Spring edition.

I also plan to continue of course, Counterexample Poetics and Differentia Press. These two projects have delivered the rarity of true poetry. I become fascinated by the submissions, and the altruistic ability of artistic endeavors.

Bonus Questions:
OA: If you could sit down to coffee with anyone (alive or dead) who would it be?
FAS: My three favorite poets: Duane Locke, Constance Stadler, Pablo Neruda, though my drink of choice would be a simple white porcelain cup of green tea.

OA: I'm sure it is difficult to pick one so I'll ask who are a few of your favorite painters?
FAS: Duane Locke, Jacques-Louis David, Missak Terzian. Their unique, singular genius represents an artistic advancement of logical aspirations, guarded by the intuition of the mind’s painting hand.

For more info on Felino Soriano you can check out his new collection Apperceptions of Reinterpretations and don't forget to visit Counterexample Poetics.