Jane Agnes Quinn
Three Studies for a Figure Laced and Unlaced
In knots we pose: marionettes shallow in breath and lined in red. There we have lines across the contour the inner skin the left lateral. There is expulsion. Bows. There we are perfect. If we do not inhale much it is not for want of life. If a string holds us it is for want. Easier to dream that way easier. To imagine when the image is what you are and more so what you hide. Please understand but one thing about shallow breathing: it penetrates less. If we go deep the lines go deep. The way we see it a lash. So why do the lips curl is it the blind spots how they darken our vision or is it the freedom from seeing that easier kind of see.
There is how eyes look and I’ll tell you what else and understand it: it is only love when the love comes low under a chest risen. A number figures around and through. We realize it is not. We thought time. Under a body come in and the breath will hiss then. One line clipped. Two three four clipped but the others hold us still up into living. Then a concession: it is our bodies moving wild how we come loose one way and tighten in another. There it is skin and we come to love it.
Lines not the red of blood anyway blood is not red. We wonder what ties us and we wonder where and how we are tied. Animation of we do not know. Bows. Double-knotted. I’ll say though we suck in. Terribly beautiful that way but dishonest. Maybe it is suffocation. Vaudeville. There is posture and posture is sacrifice yourself. No need to look back or look even. There is suffering makes us antiquated in that it makes us human and human does not evolve with time. Yes it is suffocation. Perfect love. Or come open. It is not.
Jane Agnes Quinn was born and raised in Texas. She lives in Texas.