When Armstead Dickerson first began developing his concept of Versescape, he wasn’t thinking in terms of an overarching artistic movement. Instead, he was drawn to a simple but powerful idea: How could he make poetry more immersive and participatory? The result is a new kind of experience he calls Experiential Language Architecture (ELA), a fusion of poetry, performance, and audience interaction that pushes the boundaries of traditional literary and artistic spaces.
Dickerson’s journey toward launching Versescape at Philadelphia’s Small Works Gallery began with a single open mic. Over time, he kept attending different gatherings, eventually pitching his concept for an immersive poetry performance. The gallery’s co-directors, Natalia Quinteros and Heather Bowlan, saw the potential in his vision, and from that initial conversation, Versescape began taking shape as a full-fledged exhibition.
The connection between Dickerson’s work and Small Works Gallery feels natural. The space, known for its experimental and cross-disciplinary programming, aligns well with the boundary-pushing nature of Versescape. “They’ve hosted unique events before,” he says, recalling a performance where “it was a trumpeter who was playing music to like archived abstract like footage.” That kind of openness to blending art forms made the gallery an ideal home for his project.
Every artist has that moment when an idea goes from a vague concept to something tangible. For Dickerson, that moment came when he created the first poem under the Versescape umbrella. “Honestly, when I had that first poem and the logo, I wasn’t sure what I had stumbled onto,” he admits. “I didn’t plan to make experiential language architecture. I just had a logo and I had a poem.”
At the time, he had no intention of coining a new artistic framework like ELA or labeling his work as a distinct movement. But once he saw the poem and visual together, something clicked. “I wasn’t even in the art world,” he says, “but I felt like that was a moment.” That realization became the foundation of everything that followed.
For Dickerson, Versescape is not just a performance series—it’s a challenge to conventional expectations of how people interact with art. “I hope people walk away feeling challenged in a good way,” he says. “I want them to reconsider what an art experience can be.”
Unlike traditional poetry readings where audiences are mostly passive, Versescape invites active engagement through multiple layers of interaction. Participants might write on the walls in what he calls Textual Tapestries, play a poetry-based game called Poetry Pieces, or contribute their thoughts digitally via the Verse Vault, an immersive activity that allows for silent participation. Even during live performances, audience members can engage through digital responses projected onto a screen, fostering a communal dialogue that extends beyond the poet’s voice.
Through these interactions, Versescape transforms poetry into a shared experience, one where the audience is just as much a part of the artistic process as the performer. “It’s not just about me showing my work,” Dickerson says. “It’s about creating community, fostering reflection, and making space for people to respond in their own ways.”
The goal is to make participation accessible. “Even if someone doesn’t want to speak aloud, they can still contribute through their device,” he notes. “It’s about finding different entry points for different comfort levels.”
By designing Versescape with multiple forms of engagement, Dickerson ensures that the experience is welcoming rather than overwhelming. Whether through digital responses, physical writing, or silent participation, there’s a way for everyone to take part.
Beyond Versescape, Dickerson’s work as a poet extends into published projects, including his poem EP, Thoughts and Feelings About Being Human, which is available at bookstores like Partners and Sons. While unpublished in a traditional sense, the collection represents another way he reclaims space for personal expression. “I just walked into bookstores and asked if they’d be open to selling it,” he says. “And they said yes, and I”m honored.”
His poetry, often described as direct, isn’t meant to be simplistic. Instead, he sees it as an open invitation for deeper engagement. “I wanted to show from the inside out what my experience is like, not just as a person but also as an African American, as a person expressing themselves truthfully without too many layers of abstraction that can sometimes come with poetry.”
One of Dickerson’s signature phrases is his sign-off: “From love towards togetherness and forgiveness.” To him, it’s more than just a tagline—it’s a mantra. “It’s something I repeat to myself and share with the world,” he explains. “It’s a reminder of what I want to cultivate in my work and in my life.”
That sentiment of nurturing connection, understanding, and collective reflection is at the heart of Versescape. As he prepares for the show, Dickerson hopes that audiences walk away not just entertained but transformed. “I want them to feel something,” he says. “To be challenged, to connect, to see art in a new way. That’s what Versescape is about.”
Versescape opens at Philadelphia Small Works Gallery on March 15, offering audiences a new way to experience poetry and artistic immersion. The work will be on display through March 22
Small Works on IG
ADSS EP for sale at Partners and Son
Find out more about the event on Artblog Connect
