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Posts Tagged ‘printmaking’

A DEMON’S ADVICE

But trust not your sighs to angels, ever.
They shall take each warming gust of breath,
Snatch and sew them swiftly to their own leaden wings.
So booted with heavy lustre and drunk on praise,
They hardly rise, flapping fiercely,
Singing golden geometries, scattering fiery alphabets.
Phosphorescent spinning flies,
Web-caught in luscious word.
Spider He bejewels them, soft and silk wrapped.
Dumb and fearless, a multitude of choiring gnats.

Only one thing the gods themselves fear, and that is disbelief.
And laughter, maybe, certainly, laughter.
And a free vote.
Not big on democracy are these deity.
No countenance for suggested alternatives.

If it’s a viewpoint you want, a demon’s your man:
All the angles, all the catch, all the numberless ins and outs.
Tried them all, tested, weighed, annotated, risks assessed.
Goat footed and fleet, we nibble nimbly across the cliff-faces
Of most portentious Glory, around the storm-flared nostrils,
The beetled brow, the forest eyebrows.
Ignoring the ineffable, we lick the salt of the particular,
The delicious and peculiar answer.
Down to earth, most rational, mathematical.
Solomon knew a thing or two, and that he got from us,
Smart man. You could do worse than converse.
Here’s a taste. A word or two in your ear….

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OWL-HEADED DAKINI DREAM

Owl-headed, lithe, folded,
Feathered.
Shock thundered voice:
Scythe words,
Harrow words,
Winnowed,
Fine-limbed spells.
Fingertipped, a weaving sined spin,
A cast out dance.

Sunlit surge in blue, fat sky.
A thousand green tongues
Hallowed.
Treasures rain,
Brushed light on lips.

Arched span a wing across.
Star chased, a trembled cascade.
Breathed dust, the burst
Before thought, bubbled,
Swirled, bowed.

Lean in, lean close.
A criss-crossed hum,
A bee jewelled drone
Truth stitched.

Skull bowl brain meal.
Glistening viscera
Steam slithered open.
All, all revealed.

My voice, a lute, a cuckoo.
A call distanced
By the fathoms of spring.

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Book of Voices ( This Sky: part 2)

Each cell voicing its own obituary,
Each mitochondrial Neanderthal fire-watching,
Knapped sound, flint words, held, tapped,
A feel for languid, mushroomed word
( so much glory hidden tangled beneath a milk stream
Of holiness, food, fingered, fluvial through substrate,
A healthy holy rot).
All with voice, all with dawning chorus of song.
An evacuation, a cacophany profane, blessed,
A golden urgent urination ( just so),
A mineral-rich, arcing satisfaction, an urge,
Urgent, unguent, a chrism (even), an eventide
And morning of the first day.
Smudged, succumbed, scumbled, it solidifies
And whispers itself out.
Such clarity cannot hold, a boiled ferment bakes dry,
Returns to sleep, mist rises in the valley,
Stars become acceptibly few, named, blink in and out.
The voices turn to their own dreams involuted,
A cochleal murmur suspended,
Slow revolving wrapped sleeping in spider-webbed tranquillity.
Sleep whilst you can, sleep in unity, in slow breathing
Revolved planetary orbits. Sleep pretty and woven.
Eyes lidded now, eyes lidded.
(Words, fragile as insects, scurry iridescent
Into darkness.)

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NIGHT RAIN (Book of Voices)

White noise, a rain of words
(All drops reflecting whole worlds),
But free from explanation, no discourse, no argument.

Indistinguishable millions falling through darkness
Only heard as they disintegrate, pool
And continue a life moving downwards.
A silent freefall ’til disillusioned by the solid,
Exulting, shattered, they shout.

Thought precedes language,
Orchestral is the soul.
A dance of demons and angels
Cross-dressing and interbreeding.

An heretical creation,
An unexpected evolution of many sorts,
Comes down as night rain.
Sound in darkness dancing.

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Llym Awel, second stanza. Improvisations.

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Ton tra thon, toid tu tir;
Goruchel guaetev rac bron banev bre;
Breit allan or seuir
.

The alliteration of the first line rolls and rumbles like the waves that are described therein, then stutters and becomes harsh as the roaring sound is described, followed by a diminishing gentleness of the vanquished sloping land. The last line has a shocked gulping sadness, or an amazed sorrow. It frames and positions the narrator in an emotional as well as a natural landscape.

“Wave on wave, covering the side of the land;
Very loud the roar against the high hill;
A wonder anything remains.”

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Wave tops wave.
A coupling clamber
A mating roar,
cast seed
spray spume.
Before one, before all,
up sloping land.
Seige unopposed,
howled hunger thrown,
A wild encroachment,
a burst breach
Long and longer reach,
a tumble.
The high hill groans.
What can stand,
what can stay?
From this slide skywards,
From this steep,
utter submergence?

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The last week or so I have found time and space to push on with a few art-book projects I have been wanting to complete. One is a printed paper copy of “The House of Trees”. It is quite a long poem, but even so a little short for a stand-alone book – at least one that feels like a real book rather than a parish church guidebook! So I have been working out how to interleaf the text pages with image pages. Originally I was thinking of one image page facing each new section of the poem, but practically, because of the varying lengths of the sections, this did not work so well. So I have decided to greatly increase the number of images so that each spread has one image page facing the text page. This has the advantage of consistency, and also of increasing the number of pages to about eighty or ninety – quite a nice thickness! Luckily, I had taken quite a few photographs on the Isle of Skye, upon which the poem is based. On of the most interesting things on Skye was the number of high quality artist’s galleries. I was particularly attracted by several woodcut artists. Woodcut and print are a match made in heaven, so I tried to see if I could get that jewel-like light and dark richness by working with my images.

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I have used quite simple techniques (complexity is beyond my computer skills), mainly playing around with contrast and gradients. The end result depends quite a lot on the original colour photos, but I have managed to get some rich, deep tones that remind me of wood engravings, and others that more resemble aquatint etchings. Here are a few that I like. Most of the images I am happy to present as near abstracts, suggestions of landscapes, textures and grains of wood and stone. As they are complementing, rather than illustrating, the text, I want them to set an atmosphere as much as anything else.

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You may remember some of the photographs that I used to accompany “The House Of Trees” as I was writing it and posting it here earlier in the year. I have used some of the same images but made many of them more graphic.

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I expect I will try printing some of these out for myself on etching -type archive paper, to see haow they fare as objects in their own right.

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I hope the juxtaposition of panoramic spaces with close up textural detail will keep the interest of the eye as it moves from page to page.

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Somehow the tonal reversals suit the nostalgic, Otherworldly flavour, where mirroring and transformations are a common motif. Also somehow fits in with the eye of memory and metaphysical meditations also….

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