KISSING
Forty-one attempts at one small motion. A kiss hides both faces and shows only the second when two people stopped arguing with the air between them.
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TATTOO
The master, and the work being done on skin. The darkest set here — almost no light in it, and that is not an error of exposure.
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BODY
The body up close, before it turns back into a person. Come near enough and skin forgets whose it was. What is left is weather, happening on a surface.
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BRAND
Advertising with the product taken out. What remains is the method alone: light, colour, a promise, and nothing you can buy.
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CITY
Cities with no name and nobody in them. Architecture photographed the way you would photograph a face — same distance, same patience.
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CREATURE
Beings whose anatomy refuses to add up. The machine has no idea how many of anything there ought to be, and now and then it is wrong beautifully.
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MYTH
Many arms, many heads. Old ways of drawing power, rebuilt by a machine that has never knelt in a temple. It gets the gods wrong, and the wrongness is the interesting part.
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ORGANISM
Close enough that scale gives out. A copper pipe, a mouth, a flower, the inside of a machine — at this range they stop being separate things. Get near enough to anything and it begins to breathe.
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RITUAL
A dancer at the end of his strength. A rite and a warehouse party are the same motion; only the audience changes.
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THRONE
An old woman on a throne, lit like a perfume campaign. Fashion will sell anything, including the thing it usually turns its face away from.
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VELOCITY
Speed, caught after it already happened. A motorcycle, a car, a woman — three things advertising has always promised in the same voice. Not one engine here is running.
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