The Record KeeperA red brick falling out of place on the ground; broken into dust one hand over another a turning of the page the word 'stagnant' paper boats shrivel dead horseflies - wood carvings God, the record book keeper; the inventory clerk; something is missing on this shelf looking through a keyhole sex on the floor; finger nails tightened thighs - loosened hair one hand over another. Midnight in an hour dream journal : two cut fingers a face of pins. static airwaves. the word 'excruciating' looking out the window - a tree branch touching glass. God, the morning stranger; the familiar voice. a storm cloud opens face; paper boats shrivel. dead horseflies - wood carvings one hand over another an oil spill - loose hair murder at dawn. finger nails a crowd of shadows. ~ 2006 Coming Soon: Inventory Clerk: Collected Fragments & Cut-Ups 2006 to Present, Lemures Books A Tray of Meata tray of meat awaits the mountain side to split as though it had a choice this artificial setting can only compile a bag of theories like hills of sand moving from the wind what is left but a collection of faces rising hand to mouth abandoning rows of seats or a huddle of apartment buildings conspiring to allow grass back inside ~ 2007 , an Ekphrastic poem for browsing Artnet Hotel WhatHotel foyer all glam and glistening lips all waiting for dimmers and somewhat dancers circumference of the crowd tightens and relaxes each other’s comfort zones a most unexpected turn of events unravel cute couplings join face and crawl about airspace tracking something like prey something that prays 'dear god...' something that stays place to place for no set span grandiose cynics twist open spherical / collapsible hallow shells the buffet selection is engineered for emptiness smooth reflective surfaces gleaming what little light an announcement at the mic for speech and applause neither are to pass for the speaker has chilled shoes and worse is wet from splashed sauvignon bored to fear a group of patrons has taken it upon themselves to curl up in window drapery another collection spreads across dinner tables alternating their position over and under linen gold trim flush to bottoms of their bare feet dispersed as they are whoever remains remains disinterested waiting glam and glistening for none ~ 2010 response to a dream Transcribing The Nudeit's intimate how: one V points to another, a loose line of rosebuds across breasts parts lips, the focal point curves off into shadow, how interwoven fingers, folds of a vagina, become indiscernible as the foot of a bedrail drifts into focus, a contortionist set in scene amidst fluctuant sculptures accentuates some heavy handed fairytale relating to the folly of man in the presence of a temptress. how: behind frosted glass mere suggestions run theorists amok; how a goblet of wine reveals nothing and beauty runs deep as one is willing to peer. ~ 2011 At The End of The Roadthere is no work to do at the end of the road only an eye on the split blouse that begs to open further . a broken smile connects the dots to a series of catch phrases set to stun . our collective end-games have outgrown god-cell equations upon the windowpane printed hands lay in wait for crumbs . visualists are afoot in the backyard bawling their eyes out for a loss none other observed . the sea forms a line so wide it hurts. . ~ 2012 a topic challenge response to the phrase ‘End of the Road’ pathetic.org forums Paul R. Lastovica (1981) is a multidisciplinary artist working with a focus on experimental abstract compositions across visual, written, and audio mediums. He lives & works in the industrial suburbs of Houston, Texas. His poetry explores Dada, Surrealism, Collage / Cut-up practices and is characterized by a free-form, image heavy & fragmented structure. He’s been married for 13 years (together 18) and has a daughter (5) who he hopes to pass the creative spirit to. Outside of the arts, he enjoys gaming and music & movies. You can find his art on Instagram as plastovarts; prints on demand available via Fine Art America.
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