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photo: © 2009 Jason Riker, Riker Productions
The horse dies, lifts its leg, its breastbone gripped by body suspended in space. One perceives the horse is dead, limp. One perceives the horse reborn when it works up to a rise. One does not perceive another horse dead in the space. One horse wears partial clothing.
The horse is resuscitated through a series of gestures, fingertips at odds. Filaments of shoulder muscle slap the dead horse breathing. Nothing is gripped so tight as the breath; so long the horse is on the ground the horse is dying. One perceives the horse because it dies more slowly than the world.
Or, one perceives the horse gravity. If one is alive, one is four feet on the ground, heels lifted. If one is half-alive, one is limp, suspended in space. If one is dying, one writhes, writhing often referred to as spiraling out. Dead, the horse creeps up behind the living, falls.
But one does not fall upon dying. Half-alive, the horse lifts its eyes extend its fingers finger out extend to hold out a bouquet of roses. Half-alive the horse’s fingers branch outward like claws.
Or, the horse is half-alive, back folded, hands behind the head in prayer. One perceives the horse’s hands are folded prayer because the horse is already dying, this half-alive horse, and its dying causes a string of pearls across its mane. A pearl is signifier, half-dead horse, signal of something. Half-dead horse alive to say the horse is living. One perceives the half-horse half-alive, choking itself as to say.
Or, one perceives the horse as limp. Hunched over, a string of pearls tangle the mane the horse gallops. In place rubbing breath on its body, hoof in one clean wide line. The other hoof is resisting weeping. O string of pearls, O half-horse, limp dead with air then come alive. O half-dead horse dance with nothing, kneel on the floor with two knees. O do your hooves take on the form of hands?
photo: © 2009 Jason Riker, Riker Productions
If the only entry point is animal.
If the only entry point is animal is dog on the ground is harpoon.
If the only entry point is animal is dog on the ground is harpoon then this is dead narwhal then these are two grips.
Then these are two fists are maracas.
This is a wide-open sound, held as to knot.
And this is the regal gorilla performing its solo, a series of figure eight gestures with one grand finale.
We barely hear
the train
cannot be here
without
You know
your body
photo: © 2009 Jason Riker, Riker Productions
photo: © 2009 Jason Riker, Riker Productions
photo: © 2009 Jason Riker, Riker Productions
photo: © 2009 Jason Riker, Riker Productions
photo: © 2009 Jason Riker, Riker Productions
photo: © 2009 Bill Hayward
We cannot see the window.
By we we mean we.
By window.
The bruise
lengthens,
dark cloud
horizontal
We are coming open.
The song keeps us close.
We can forget or forgive
Not both.
photo: © 2009 Jason Riker, Riker Productions
at future selves.
We are not the same
Movement
We differ
each other
Because today
I decided on the next train
Same dance different
meaning we inflect
each other
We go into
The dance changes
our movement
This same dance
This grammar
we have
photo: © 2009 Jason Riker, Riker Productions
Each day at The Intimacies Project, Bill Hayward invites visitors to participate in collaborative portraits. As part of The American Memory Project, the resulting photographs document connections between strangers. Collaborators are given paper, paint, and permission to explore their relationships and attitudes. For more information, go to http://www.billhayward.com.
photo: © 2009 Jason Riker, Riker Productions
This is playing dead in someone’s arms, spiraling on one’s knees.
This is a series of moves. From every slat on the floor, arms outstretched clasp elbows.
This is how to mount one’s breastbone, static for a very long time.
Back to back with lean leg muscle, this is intertwining joints.
This is a series of poses called “balancing one’s calves atop abdominal muscles.”
And this is the extension of four arms. This is two hands clasping.
*
Foot rest on thigh muscle.
Foot rest on back muscle.
Foot rest on black floor.
*
This is backwards into someone else’s hamstring.
Now, a solo performance. Dirty from the room’s black floor.
Now one arm behind the neck then motion.
Some distance by contracting muscles clean wide line.
Pressing one’s hand through the ceiling.
Pressing one’s hand through the breath-colored box.
*
Mime pressing hand through invisible box.
Mime trembling floor with string of pearls.
Mime in white slip extending string of pearls.
Mime choking itself. Mime ties its wrists together.
Mime seduces left leg posing.
Mime pointed one foot tracing circles on black floor.
Mime beneath black curtain.
Mime flying extension with one wrist outstretched.
*
Dancing with dead face.
Dancing already dead.
Corpse in a music box.
*
Image of clean wide line extending toward ceiling.
Image pooling down from hair pooling down from cheekbone.
Image of two circular chapels, one clean wide line.
One clean wide line up ninety degrees.
Current Press:
FXDD Sponsors The Intimacies Project: A Multi-Media Installation Event
[Read more]
Don’t Shy Away From Intimacies
Thursday, October 29, 2009
By Woman Around Town [Read more]
Public art project seeks involvement
Sunday, October 25, 2009
By Sara Bauknecht, Pittsburgh Post-Gazette [Read more]
This Just In . . . Live blogging from Bill Hayward’s Intimacy Project
The Best American Poetry [Read more]
The Intimacies Project
Sunday, October 25, 2009
By Justin Taylor, HTMLGIANT [Read more]