“the cruel radiance of what is” –James Agee
Triptych: three black rectangles of anodized aluminum. The screen mold. Capillaries of dried milk angled into translucence by the low light, the refraction of which, through canopy foliage, punks & bloats a parallelogram of shadow onto the light switch/electrical safety outlet plate.
The shadow parallelogram higher on the plaster now, more complex, more frenetic and multi-layered, the angles sharper.
Palm spears in the triptych’s left-most panel. Bilateral, twin- and yellow-tipped, long-fibered, paper-stiff chafing when the air stirs. Diagrams of interlaced radiance in matte and wax-gloss with variable opacities of green.
Overlapping, wind-stoked oscillations of differing amplitude.
(Stir, rise, thrust, brown, wither. Die. Linger.)
Central triptych panel: With the sliding light, the tangles newly legible, though confusion wells up from the roots, the stems; the lichen-stained upper branches (with their lavender fungus) silvered now against a backdrop where gray reigns over ghost fronds like duplicate prints in antiquated monochrome. Fountains of wilt.
Right panel: inky out there, a window black as aluminum, the room thrown back on itself, all plastic white and right angles, the screen mold illuminated from within, dendrites against the unreadable, dimming with sleep.