This monoprint, created two decades after I knew the woman in the poem—and wrote the words, has always seemed to address the content of her inner life so directly that now the one always evokes / embodies the other.

This monoprint, created two decades after I knew the woman in the poem—and wrote the words, has always seemed to address the content of her inner life so directly that now the one always evokes / embodies the other.

Five components, all of different irregular sizes, have been cut with ruler and knife from several different pages of random ink and pen or brush markings. In each instance the markings suggest that they continue outside of its local edges.
The individual pieces are then collaged into a new image which in itself also implies an existence outside of its boundaries. A male torso prototype, or perhaps it’s an alligator lurching after prey, or, it becomes whatever the mind wishes to see though it has obviously gained much from the artlessness of abstractions.
Collage, and abstraction, are now of course both century old artistic techniques but obviously they can still energize one’s imagination, and provide a solid workout for compositional skills.

Fillière © 20th 3 2018
Today my pen challenges
for a poem that is not just another scar or bruise
but a true and innocent gaiety.
I know I will only find it
where the given exceeds desire and need,
where senses are freed from all anxiety.
But my pen is an idealist,
an indelible fanatic, a razor-edged puritan, poor thing,
dreaming of calligraphic ecstasy.
Like me
it will have to seem to live
with music of a mordent theme.

Outdone, out-spun by winter’s viral horde my only plan to find accord. With such excess to mediate and meditate, find awe and wonder in, and wait, and wait until the crystal rage, December’s cast is made and set for skin and bone … and spade.

Political satire. Rumour of Humour 4.

If you count the edges of the chopped segments of abstract markings you can find a dozen pieces out of which this image was assembled and pasted down. I think of it as an innovation on a kind of centaur. Great fun to do such a wild compositional search-and-find assemblage.


The way we feed off one another, the way organisms feed off each other is endlessly fascinating.


A bathroom window ledge cut-glass object, simple, light filled, grand.

A dream is most often, or at least mine are, like a metamorphosing octopus, a non-stop serial segue of mutations in being, syncronous with the suspension of logic and time. And the dismissal of happily ever after is another function of most of my dreams.


Version three has many of its own poetic charms.
