after Dior’s John Galliano
“we became dedicated to the endless task of forcing its secret, of exacting the truest confessions from a shadow.”
a swathe billows copper sexuality and alliance, exposing both greave and cuise. Bronze plate armours her leg. A pair of bodies drawn around her. A drawn cuise or copper. The terms of war bedded in fictitious sex, gauntlet and bracer gear her arm. Arm her. Jihad visor and bead helm. Bellows camber. Spectacle of power: grey knife-point heels and bronzed greave. Jeanne d’Arc. Her sex an iridescent shadow betrays a cherry doublet. Copper spills backward, pillowing air. A tracery of gold embroidery, blue jewels. An economy of pleasure, helmed in feathered bronze. God-like, tattooed in gold, her false beard black. Georgettes her. Fictitious corset. Pleasure veiled in a film of light, in latex, in Murano beads, she unbinds sex, arms herself in it, draws a line of black over her eyes – that austere monarchy of sex.
After Jun Takahashi—Summer 2006
candled darkness, a lit space in which women
mutable bodies, drift against black
ghosting exposure over water
beneath voile, wan bodies
light, their own
ground of exposure or lake, umber vanishment
voile tunics them
a luster, exaggerates them
veiled muliebral bodies
opening breast and abdomen to light
breasts as luster written upon white
the motion of light on her face
metalled and tattooed so we
transparent, bodied there
candled exposure bodying metal fire
Of gold against night and ground
lake drifts as shadow, vanishes
lanterned bodies, mutability scorning erasure
metal coronets her, binds
delineation in silver
translucent body drifts
tipping into white
lanterned, a null light: we live […] the opposite […] of daring
after Jun Takahashi
A sheen of gray, oil on a rifle barrel. Leather insinuates menace.
Or desire. A week of numbered days.
She is faceless (first day). A mask obscures the text.
Scrolled stems lattice the door (second day): the metalled floor vanishes. In its place, two rows of iron nails stud the wood.
Her hand grazes its surface (third day). A gap of doubt surrounding her fingers.
The artist abandons her to a single tone (fourth day). Her skin entirely obscured.
She gazes without expression into a pall of crushed light (fifth day). The artist hiding in the wings.
A sheen of water on bare skin (sixth day). Hers. An agency of isolation.
Out of the dark wings (last day): lustrous, a single oily tone responds by vanishing. She performs such flight in silence.
tation of violence
as against dark
emptied of virtue
an empty room
this is liberation
a kind in fear
we have no
a discourse in war
reports of kidnapping
or venacular ::
no difference in
father and uncles
into the code
mechanism of power
limit of compassion
a kind in
definition by exclusion