Dec 022016
 

hallucineMovement Is The Antechamber Of Hallucination 32” x 40” 28.3.2016

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The daughter of glow-worms painting portraits of mysterious females and the reindeer’s ghostly double, all perfectly cracked like glass, like an intrusion, like a flight into the obscurity of uncharted whispering. A slight touch on the shoulder, the movement of an affair between invasion and emanation, the pitch of bone against bone, faces merging in the moisture of a single word chosen among all the others. A vampire word…

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Clarity is often a flower burning a table out of a corpse, an immoral sense of having secretive codes, acknowledgements of a tentative gambling, a mere walk in the park. The spores of wild animals, the crawling of your flesh, light growing on water. Words like landmines.

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The glow between living and ceasing to live, emulates the long-legged cascade in her whispering circuitry, the gaze of rain is corrupted film, caught in the act, disguised by pleasure purring in gradually brightening passwords. The catapult of an unfinished sentence, turned to provoke, to stroke and latent in state, the light separates your body from its own darkness.

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The ancient horned flower of your psyche attracts the devoted milking machines, the aboriginal veins of a fabric that propels your footsteps as determined as her threads slipping into light, vanishing in the blink of an eye.

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navigateAnd still the navigators 38’ x 38” 27.6.2016

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Dark and greedy, the always secret and ever vanishing body of torrential mirroring.

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Dark gravitational assignations seduced into amulets the color of glass, evolving in sequential chiaroscuro, tempting blood where (in the Manor of Sighs) the barbarian sign language seizes the images of your being in the rich, antiquarian lucidity of your extinction. Your face, or the features of night in the fever of graceful spirits that still come to drink the liquid of life out of your hands, the pendulum… An evening of theater runs ahead…

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Trapping belladonna between the lines, between her legs, between phases, to embrace the blindness of your murmuring, pushing out between her lips, the lost hermeticism of albino checkmates.

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Black pyramid of erratic nights, sphinx crystal for abnormal motion, language absorbed by light hibernating in darkness, invisible shield, hormones of endless fusion and refusing to chalk the edges of bodily words taking root. On a street corner in another country, where the wheels of dance herald small but irreplaceable transgressing devices, shedding deceptions buzzing with veiled faces. You are sleeping with the enemy, unafraid and glorious.

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An intimacy of longing dwells in us like words that have no meaning, but animal cries, torn linen, a loving defiance…

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sirensSirens In The Evening House… 40″ x 66” 5.1.2016

Sirens In The Evening House… 40″ x 66” 5.1.2016*

One superb maneuver is the moon under your skin that pivots on the bones of a spider’s web, when it shines in the eyes of the animals that come close to you for light.

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Bright calipers of the alloy-laden arch, light-birthing heaviness, a fire between the air and the water, the arc of the dive into disappearance. Desire is not beautiful, but an invisible flame, a knife thrust into the heart, a moment of oblivion. The figure is translated, disfigured and set spinning into the tall and languid codes of light, violent codes, aching darkness of codes deceiving stature… who is dismantled. Words pulled out of lead. Breath of crystal. The rain of deer in the plateau of whispers…

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A bright spirit made of wolves, a throat in the fountain of analogies.

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Neither life nor death, but the same descent, the same loping, transfiguring, moving across the edges highlighted in ivory as bright as sunlight clutching at animal optics, scavenging, sight-shaping all the female phantoms in a row, crawling with antlers through the moth-memory of an escape hatch bigger than the either and the or… where the bell-veil toys with the heretic and his contraries, introducing a vow worthy of destruction, sealed with a kiss.

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Highly unreasonable notations raise pinnacles outside of the hour, narrate plumes, positions of sleep. The air spirals and sudden sparks. Your body of the orchid feast, thief of the mask. Night hood. “Teach me how to kill, and I will teach you how to love…” Only the wail of silence, in acrobat, even yourself hieroglyphing in lunar light.

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The slow movement of her hand, the reflections cast by night, travelling by déjà vu.

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The visual works I make are photo-based digital collages created in Photoshop, using printed media scanned into the computer, then using many layers, cloning, erasures. This allows taking the essence of collage quite beyond cut and paste. It becomes a much more fluid conjuration of matter, transforming the everyday into a magical space, where anything is possible. The sizes of the images are always approximate. Although, usually larger, depending upon whim. Since these live on the computer, they are subject to change.

—J. Karl Bogartte

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elbogo

J. Karl Bogartte, born September 8, 1944, of Dutch and Irish descent, is both an artist and poet, schooled in anthropology, photography and various esoteric traditions. He has been an active participant in international surrealism for more than 50 years, and cofounder of La Belle Inutile Éditions.  He presently lives in Santa Fe, New Mexico. Bogartte, is both an artist and poet, having published eight books of poetic writings: The Mirror held Up In Darkness, The Wolf House, Secret Games, Luminous Weapons, Primal Numbers, A Curious Night For A Double Eclipse, Auré, The Spindle’s Arc, and Antibodies: A Surrealist Novella.  Long aligned with international surrealism, Bogartte is also a cofounder of La Belle Inutile Éditions. His work has appeared in the following anthologies:  ANALOGON #65, Melpomene, Hydrolith #1 and #2, La vertèbre et le rossignol #4, Peculiar Mormyrid #2, Paraphilia,  and The Fiend online journal.

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