Excerpt II

The tribal priest looked at my pictorial body of work and said it could use less poignance. He asked if I was familiar with Euclid and his geometric theories. The image that remained with me was the bridge of asses. Though bilingual, as guests of a tea party, he made sure to relate his aesthetic digressions in Nahuatl. He didn’t know but it abstracted the formality of his point and elevated the sentiment, I felt it. Particularly, his critiques concerning the rendered human subject could strike a vagus nerve across the room. He explained his journey from the old world and posited the future is set in sandstone. The color, post earth-tone.  I wasn’t sure how much credence to give to this, until I attended his Mass, I appreciated his first-generation, constructivist bravado, I prayed to God to protect a voice like this. In response, I began to understand why he visited in the first place. Geometry has rhythm and typifies the mechanical, but combined with elements organic, it’s a thought experiment on the marriage between machine and nature. Inherently man’s place among matrimoned forces is recontextualized, irrespective that man reared the groom and inherited the bride. If a clockwork orange was a romantic comedy.  I’ll ask the priest if he’d be willing to oversee the ceremony.