the staff handling the unwrapped meat, surrounded by light and color,

needs to wash the incoming beige praline. the process of extracting

collagen goes through—as if

through billowing sailcloth—a multitude of sows in beige praline.

lord over streams of hackled skin,

vader, you call your application to lips a revolutionary enhancement,

fucking lips under the emblem of the philtrum,

whereas the animal on the pasture is not colored purple or safron.

inversion A,

wear the schematism of a face, as the condition of beautification,

somehow into the roots of the alkanna,

which, with coy blue bloom, reveals itself to us in levantine plains,

and transport it into the luminous rocks off roussillon, deep

into layers of multi-colored ochre.

there is where the schematism of a face should be.

this is how you manifest what is as make-up—structure and order—of beautification.

inversion B,

the animal test depicted here will be replaced by the renewed attempt

at depicting a plant,

a pale green but not blossoming rose in front of the wall of an english cottage.

i wear a face mask of amber, a rhombus.

rarely have i ever cried so hard.

inversion Γ,

the by-product of human origin,

collagen of our skin, is

to be worn on the condition of its own being as beautification, the root-

network of the alkanna, luminous rocks

off roussillon.

the staff handling the unwrapped meat washes beige praline, the color

and the light.

to go under the skin means to move under the skin, in the connective tissue

of the written work of art.

Translation: Uljana Wolf