My writing emerges from a state of uneasy devotion.
I am invested in portraiture insomuch as energetic inscriptions field artwork.
My poems are written with a kind of reverence that is religious like soil is religious.
My poems open conversation with obsessions and objects other artists have set in motion;
they are ekphrastic but not solely in service of explicating a moment of art from a position of deference. My faculties wrap around inquiry sculpturally.
I use research, imagination, and analysis in conjunction with close looking, and what I begin to say is usually confounded by griefs and confessions looking for an conduit through which to speak. I pray that what I experience through my senses will make me whole.
In these ways the power dynamic of ekphrasis is messy with languaged desires distinct from
the formal strategies and phenomenological conditions of art.
My image systems, oblique logic, and diction are routed through my belief in the power and terror of figuration—the revelatory potential or the fucked vulnerability of a metaphor. Language’s capacity for unspooling/configuring instinct and emotion is a resource that
I try to understand and disremember in kind.