Miriam Bloom & Randee Silv

Forecasts: I wasn’t really spinning, more pushing up as I turned down. I was supposed to be in the sea, not in an hourglass under feathered timber. Stunted. Oblong. She went on defining purple grays that cluster at the verge of dawn. She said it was absolutely the same, damn it, the same instrument, the same gadget. They could be named no matter how outrageous or outraged. Tenderness slides sometimes beneath the chair. She writes that down. Dividing and subtraction suffocate adding. Cruelty has no favorites. Ashes are ashes. Inevitable disguises veer from a course with meanings never kept. Streaming in through windows, nothing feels quiet. She dreams like you. Never asked. She never answered. Repeated repetitions repeating.

Narrowing: Sharpened thorns play tricks with muted echoes. Curtains pulled down on canopies still pliable. Lost among rings of rivers, I stack what I can describe. I position myself so that edges touch edges. Referencing happenstance, coincidence, conjuncture, she conducts an orchestra of cicadas, seductive and charmed. She speaks of value, worth, injury, of acid and rust. Walkways taper and towering caverns fill with long, fixed stares. She details the closest re-entry. Appraisals swerve farther ahead as they pass from hand to hand. Crowds hired to impress, to dazzle. Rotations gel fast. Says he’s him when he knows he’s not. Bitterness disbands timeworn overtures siphoned for other matters. I have to stall the clamoring of broadcasted predictions in bone orchards. She moves tiresomely from leaf to leaf. A useless use of 360 degrees.

Images from Miriam Bloom’s video, Esculti Amant (Listen Up), Cadaques, Spain



Miriam Bloom grew up outside of Chicago, and has lived in New York City since 1975. She is represented by Westwood Gallery in New York City where she recently had a dual-retrospective exhibition, Interwoven, with Ron Morosan. A sculptor for many years, she now works with photography and video as well. Her work is about what we see before language intervenes.

Randee Silv is editor of Arteidolia and the journal swifts & slows: a quarterly of crisscrossings. Her wordslabs have appeared in Posit, Urban Graffiti, Maudlin House, Bone Bouquet, Otoliths, and in Farnessity (dancing girl press). Silv’s soundslabs (notations) have been published in Utsanga, Otoliths & Asemic Magazine.
 
 
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