First, mark out an area in a room. Consider it, remove the objects in the room with your mind,
and make up the boundaries like walls within walls. Make the environment negate and oppose
its original place, constructing the space with forms that are not opaque walls but glass.
Clear substance. But, still a box.
We observe things through their relationship to ourselves; our reflection is cast in a shadow and
frame, held in focus and falling into a background, indistinct and white-walled. The subject
stands out on the margins and is fringed in explicit mold. Implicit movement functions as a
passage of perspective into a flat image. Into what was a flat image.
What is an ‘intense environment’ has disappeared into a lapping mass of media. What was a
maximalist silhouette is placed into balance with the simplicity of black and a with the density of
darkness.
Pattern, shape and shadow flay around angles reminiscent of the human body. Two
bodies compose a language, a structure that bulges like a Bad Binge skirt, splitting torso and
tail. Faces sprout from earthly shapes and limbs like a long-lost memory, a once-a-year
allegory. Modernity in silhouette and dress is tied to a head like Miró spots drowning out into
dark drop sheets. In one moment, a Thom Browne notched lapel and tartan suit stand tall, their
lines cutting sharply from left to right. In the next, a black billow and spreading Wiederhoeft
dress digs deep into white walls like mulled wine on cold nights. Then, a hard hand, touched by
another like a shifting shadow, meets with a tap. They are built with a formality of contour, a
construction with a fitting form and a rhythmic consistency riding from shoulder to sleeve and
pleated skirt to bowler hat.
Opposites of light and dark are fused into tie and blazer, a square of stressed and unstressed
syllables, one light and the other heavy. It is observable, audible, and can catalyze emotions as
strong as gray rain. Their purpose is only as flexible as a hem can be stressed. It can only be
captured in an image. The two forms express one thought and sentiment.
Think of them as a sonnet.
by Billy De Luca
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