Francis Bacon: Study After Flesh.
The body betrays itself.
A blur of meat,
muscle, and bone
beneath the brush.
How often we wanted
the clean edge of a form,
the containment
of skin
pulled tight
over the cage of ribs,
but the face
slips
into a scream.
You said
it was a mirror,
this canvas—
not reflection, but
the raw
insistence
of being.
Who will tell you
the truth?
The room has no corners,
the walls bleed into shadow,
and there,
a body twisted
like memory—
parted lips of a mouth
that never speaks.
In the frame,
it’s always aftermath.
You enter through ruin,
through the stench
of what you thought
was control.
But this is where
you live now,
in the image
of yourself
half-born,
always fleeing
into another version
of fear.
Dorothea Tanning: Doors Unseen.
The dream splits open—
a room you’ve never left
but never knew.
Underneath the wallpaper,
the bones of some other life
push through,
fingers caught in the plaster,
flowers with mouths.
This is how it begins,
with a door half-hidden,
leading you deeper
into the fabric of waking.
Not the ordinary hours—
not the clock ticking its familiar pulse—
but the stretch of time
between breath and breath,
where bodies stretch
into shadows,
half-beast, half-girl,
and you follow.
Didn’t you say
it was a game once,
to play with the edges of what you know?
But it’s no longer
the game,
is it?
The soft couch turns hard,
the windows become mouths,
and you
are everywhere
at once.
A woman with wings
leans against the frame.
She waits for you
to ask the question
you’ve never spoken aloud.
How many selves
have you worn,
and how many
have you shed
in the rooms
where the light shifts
just enough
to trick the eye
into seeing
the world you’d forgotten?
Helen Frankenthaler: Pouring Light.
It begins with the ground—
the canvas stretching wide
like an open field,
waiting
for the first flood.
Color doesn’t stay still.
It moves
like water,
pooling,
seeping through the fabric,
finding the places
that resist,
then giving way.
There is no line
to hold it back,
no edge
sharp enough to carve
meaning from chaos.
Only the slow
gesture of a hand
releasing
what the mind
cannot contain.
You said it was a choice
to trust the spill,
to let the body follow
where the color wants to go.
And now, it runs
toward something larger—
light spilling
into more light,
blues folding into ochre
like a memory
you can’t name.
How long
will you stand there,
watching as the world
remakes itself
on the surface
you once called empty?
There’s no turning back now.
You’ve poured yourself
into the space between
what is and what might be,
letting it soak through
until the boundaries blur
and all that remains
is a horizon of color,
unfixed,
and full of breath.
I love that your poems shine a light on the brilliant work of women surrealists. Dorothea Tanning is one of my favourites!
gorgeous. are these “ekphrastic”? i get the sense they are responding to the images……. i love how you write.