it actually reminds me of the Maitri rooms at Naropa. each its own color but a space infusion offering holding. I also experience hope in this. perhaps a kind of hope that is somehow an opposite to dogma. like the person who walked their path (self-awareness) continuing to walk their path. their hands leak their stature caressing cherry blossoms gently.
someone else looking on notices the love in the season because of the agent the hand of another is.
something so peaceful in the overall tone/shape here. a traveller travelling simply. breath moving through chambers—not counted too closely but also not overlooked.
the instant "overcoming" of the futures is important. as if time can truly melt into non-distinct presence (no binaries, no lines, no structures) and be a kind of holding (lover) when this certain contemplative tone is held over a long period.
somehow time becomes space!
t thilleman is the author of 30 books of poetry and prose, including Three Sea Monsters (Our History of Whose Image) in which journal entries and poetic sequences investigate the legacy of Pound’s redactions to Fenollosa’s original manuscript version of The Chinese Written Character as a Medium for Poetry; Snailhorn (fragments), a 360 poem cycle utilizing vedic transitions in celestial to allegorical articulation; and a novel Gowanus Canal, Hans Knudsen. His literary essay/memoir, Blasted Tower, was issued by Shakespeare & Co./Toad Suck in 2013. The Special Body, a second work of literary comment is available from Rain Mountain Press. A third booklength essay entitled Image|Event is forthcoming, as well as further Sketches. tt’s pastel drawings and readings are archived at conchwoman.com.