Gaze

Yesterday,
the bus stop,
all the people's heads
turned, watching.

Gaze of anxiety.

The blind woman tapping
her way forward.

Clarity

Loud rapping at the top of the small escalator, on the old, mottled stone floor. Transit riders, hearing the commotion, turn to another series of stairs. It is dark up there. I am tired, climb up.

She is at the top, agitated.

Black wool coat, skin pale as glazed porcelain, hair so black light disappears into it, mid-length, curly. Eyes half-closed, a bluish light. She smacks the white-tipped cane hard, like a weapon, this baton-feeler of the terrain of the ground of the subway tunnels. "Where's the exit? Why won't anyone help me? Where's the ticket-taker?" She is hitting the cane perilously close to the top of the escalator when I guide her away.

"What are you looking for? A train?"

"No! I want to get out of here! Why won't anyone help me?!"

She is on the wrong floor. She becomes more flustered when she discovers she was given wrong directions. I guide her to the elevator, press the button. When the door opens I guide her in, press the button for the upper floor. All the while I tell her what we are doing. I ask no questions of her. After we ascend and the doors open, I take her to the exit, and, holding her shoulders, point her to the way out. I worry about her vulnerability, and wish I had time to ensure she gets wherever it is she is going.

My bus arrives 5 or 10 minutes later and as we pull out of the station I see her, having only gone perhaps 500 yards on the sidewalk, hair flying wildly with her flapping coat in the high wind, tapping the sidewalk with staccato jabs, finding her way despite.

That she cannot see
is clear.

Amour Doux

My consciousness is dissembling, Monsieur. Where I lay flew apart while composing itself.

Like an overflowing equilibrium; please forgive me for saying this abstractly when I know you prefer poetry. But it was the way words carved the experience, even as they shifted it from sensation to representation. What can embody the wetness or the absolute dryness? How can the world of forms be so liquid?

Monsieur! I would never speak in riddles to you. Stop laughing. Why do you call me delightfully irreverent? How do you know Socrates wouldn't enjoy such puns? Besides, I don't mean in any absolute or invisible ways; nor as semiotic symbol. The 'noumenon of the phenonemon'? Sort of, yes... even if you're silly! As long as they're both the same, that is.

The forms of the world are like a waterfall that constantly changes yet maintains its pattern. Does that help?

You're making me laugh, mon amor. What do you mean, Niagara Falls is eroding itself into disappearance? Sweet love, perhaps that's it.

Afterall, I was floating stably, feeling the tenuousness of the deeper permanence of existence, an existence that will ultimately fragment and float away.

Changes are rising through the layers of my life. No, Monsieur, oh vous charmez, but I was not referring to layers of sheets. I slept and woke into another perception of reality. It was as if the continents of my life were floating. It was as if they were floating lotuses. Without knowing, or attitudes, or opinions, or any way to comprehend the flux. Where was the ground?

Flux? Oh, you make me giggle, Heraclitean, sure. Or Relativistic time and space that is itself fluxes of events that unfold, close, open, shift, metamorphose, glide, disperse, flow and hold still.

Energy is the ecstasy of form. Do you not agree?

Yes, amour doux, I do remember those enfolded nights of ecstasies.

Yes, I was alone, as always. Why do you, who are so far away, care? I woke into heat with the goldenness of the sun all around, only it was night, the softness of vellum cotton sheets . I always think of you! Why do you ask? In the world that is a series of intersecting, coalescing systems, nothing can be gained or lost. No, not like the stock market; Monsieur, you are silly tonight!

It's the momentum of things, forever oscillating.

The Ground of Being, mon amor, is no ground at all.

Landscape Figure

The drawing was one of the first and done quickly, a 'throw-away,' but some acrylic matte medium (Ester's tip, thanks!), and then oil paint, and she's become a landscape figure, or, bear with me, with hints of bones and layers of sediment, a geology of paint. The model in the lifedrawing class last week was a beautiful woman, a dancer, but sitting naked before a room of artists, sometimes she wanted to cover herself... I like the modesty here, it makes the figure in her nakedness through whom the landscape of paint moves more vulnerable.

(click for larger image)

Landscape Figure, 2006, india ink, acrylic matte medium, oil paint on archival paper, 13.5"x9".

Strengthen

Strengthen

Ways to defend oneself, ideas, beliefs, essence without over-riding the accuser. Instead of fleeing into fissures, withdrawing into a shell, masking with silence, remaining while rushing away, the wave rose, high, surging in sunlight, milky green underside, proud, and defended.

Sighting

Those on the beach throwing rocks and sharp shell bits and driftwood at the strange fish flopping out of the water, stopping, acknowledging, backing off.

Untouched, not harmed.

Having met, and met the fear of difference, like two obverse cultures reckoning with each other. One half-submerged, gasping water and air, the other, only air-sucking.

On the shore, where they met. Waves tore the air.

No-one was hurt; the shouting group withdrew from the edge.

The flopping into the coiling wave as it drew back.

A miracle; they called it a miracle sighting,
that day.

Stare

Eyes that stare. Impassive, in the rocking cars of the underground subways, brown or blue, tiny, beady, at young women. Seated, watching. Unwavering, bleak.

Her glistening, manicured curls, gym-toned lithe body, tight jeans or skirts, tiny butt-geared jackets, dusted with golden glow.

Energetic, ambitious, sweet. Cadences of voices on phones when the cars break out of the earth and glide on metal tracks under the vast sky.

Old, heavy, arthritic, hair like grey wire. If one could suck beauty in through such fixed, harsh eyes. Beauty would be siphoned out of that diaphanous thing sitting so lightly on the seat, oblivious. But events will mark her too, face of powdered crevices, make-up collecting in the networks of wrinkles, the soft sagging skin. Time, the last revenge.

I want to place mirrors before those who stare. I think it is the dreadful reality of those who are no longer. I try to understand why the generations do this to each other. Cold, impassive, unsmiling stare.

Jealousy.

Bitterness, it’s terrible face.

Undo it! Take off the masque! Dear Mother! I beseech!

Chains

I don’t know why she stalks the seawall, stopping, staring at the unmoving horizon. Perhaps she is waiting, remembering. Her furious, angry eyes, forlorn. Was her heart broken, and then re-broken before it mended?

Her arms of black lace, her black brocade skirt, she dresses as if from another century, the red silk scarf at her neck like a flag of conquest, of the surrendered, broken heart.

She paces; she stops.

Sometimes she screeches. Gulls land on her shoulders. Sand flies in her black, wind-streamed hair. Earrings the colour of ripe cherries dangle from her earlobes. Spray wets her tear-swollen face.

If you talk to her, she will stare blankly, or scream at you.

Attack, belittle, accuse.

It is best to let her pace. The white cuffs of waves chain enough.

Unpossessed

I have no reason not to believe you, Monsieur. You, who are cosmopolitan, a superb lover.

Fresh oranges in the Agean Sea;
Hot Springs in Banff; or Ikaria, Greece;
Paris for art, or New York,
and women.

Monsieur, we could explore the erotique, except you are not here. Words dance in the air. Across the space of tables, phones, pages or screens. The ceaseless flow of loving language caressing, licking me with tongues of fire, yet without touching. Sometimes I understand you prefer the intimacy of distance.

You are far away, listening.

Nobody can have me; I cannot have anybody. It is a reality, mon amor.

Eclipse

Dance of the fragmented body. Dance intimately with the soles of your feet, or your ankles, or the ripped cartilage of your knees. Follow your elbows around the room, these points of bone strongest. Dance with the hormones of your endocrine system, the muscles of your gluteus maximus, or your biceps, or your inner ear. Heal your sexuality while you gyrate your hips. Dance your smile, or the nails on your fingers and toes. Writhe around your belly button. Or face the music and dance as if your body is on fire and you are disappearing into spirit. Dance like the Gods are watching you; or they are inside dissembling you. Dance an orgasm full and deep. Eclipse into yourself, rhythm of wholeness for a fragmentary moment.

Then breathe in twelve perfect breaths: circulatory, digestive, endocrine, immune, integumentary, lymphatic, muscular, nervous, reproductive, respiratory, skeletal, urinary. Twelve systems of the body, like the twelve hours in the days that follow nights that rhythm your circadian, or the twelve months that form one year of living.

Then lie down.

Braille

A pose from a lifedrawing session, and I added one of the early "Monsieur" pieces...

(click for larger size)

Two Women Who Are the Same

Lifedrawing class last night. Not too far from here. A group who have become friends, so a nice feeling of camaraderie. Anyway, the drawing that I coloured late into the night didn't turn out too well. But in the morning there is Photoshop! I played, drank coffee, ate breakfast, played. My daughterly critic rushing off to school didn't think the digital version tooo bad, so here it is. Perhaps I'll see if the drawing can emulate the digital version tonight - if it works, I'll post it. Promise.