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And elastic is smooth as it stretches layers of red, blue and yellow                                     pressing pigment into flows                          




                 










                                                                                                       

             then snapping liquid fingers back into orientation, back into dead skin. 












The grip closes in and folds into knuckles,           bulging knuckles that bend,                

plastic in the mass of clay               



 





smooth, plastic fingers                                                                                                          

                                                                                creasing the surface from the inside, out








           coaxing delicate contact more than any finger could                                                                

            

           



                 inflating separation in from the side 

        


light curls out from the underside, an underside where weighted tack





                                                                                                                                                            

                                                                       sticks the damp clay surface              




     




         splitting under plastic spread, perfect tears outline drifting, foil islands.        

 











Then brittle edges edge into kneading,              into aggregate rhythms,  


                                     gasping light into the smallest of surfaces.





                                

                                                 Then nylon skins saturate smooth, taut, flatness

       





    spreading weight in perfect full contact—fast and simultaneous with the

                                                                     cheeks becoming humid






                                                           tuning motion,                  then slowing,              




out along the side.


               

                                  







                 And in writing pivoting momentary orderings and inclusions,                              

                          partially terming                


       landing short                        



                            

                                 Tuning







    terms that ride into contours, then return a warm slack,
















then breathlessness starts to hold a beat.