Agency within the FRAME is the shrapnel of displaced focus, the shimmery gadflies and objects that draw the eye from the center to the edge.
The super-gravity that restricts and predicts agency and motion is dictated by the picture plane itself, the area of canvas contained by the FRAME.
As such, the agents of the central mechanism, (what happens in the back of your mind during)the kiss, are remainder and residual colonies of a fallen, distant or hidden empire, any/every other to other.
Though static and contained by the frame, per/mission is open -- agents and operators are allowed free movement in their service to the central mechanism, absence. A coupling that defies identity, the individual body, the separation of color from form, from texture... Rigor from Frivolity... The revelations and uprisings of the expressed, bracketed kiss.
From lofty wavering meridians(peaks and caves), the duality(arches and columns) of supposed summits is subdued, merged and spun... Con.fused / con.fizzed.
Pliable units, spheres of influence and territories of identity work dynamically to erode both the center and its outer-space, the corona and fuzzy feeling of the kiss, the central mechanism. This friction, this collision between peripheral agents, the contact of paint to canvas and paint to the frame -- the paint as intermediary in this relationship -- the exchanged fluids that is 'real' separation -- AND -- the absence of the kiss, the BASE/SUMMIT of the kiss produces laughter, the rupture, the fault and fissure of the absent war machine, empire:colony -- the eternal coupling that IS revolution...
