KAI FIERLE-HEDRICK
is a mixed media writer interested in locational/interdisciplinary/collaborative practices. Since 2003-4, when she earned an MPhil in Architecture & the Moving Image from Cambridge University, she has mainly been exploring combinations of text and digital media. Documentation of her work is available on her website. Bad Press published a pamphlet.
Bombazine
this body pulls armfuls of shade less lashes, each blue iris —
in its small privacy haggles terror for a gut plot
less combat, more hope diseased
gone bed-ridden & fugitive, peers oblique
through curtains to grieve
a surfeit logic so moving no news
could cave to sleep — which is to say each collar bone
sternum, spine aches through sans rest
to bank slaughter like care, mass or pittance
there can be no helmet for this
too many, too soon precious bits, sky-blown scraps
& slabs of pink flung wide as queer
silage for a public eye once uneager to water
when angst spawns empathy, a quivered light
London, UK; July 2005
still 11
and impervious to seams this
feat of entirety
that this season I am
so beatific and
bound by air become chords
of soft molecules
their thronged pause sticky
as the pant of hours; this, how
[in the lethargy
of an exhaled lung]
a gal breaks light with gestures
meant for spring
Auto-portrait with news and text
this petite waiver, sly and tabloid, fuels digression from
and into the articulation of a true space, its mass
gray / I've handled colour as man should behave,
with trained and sensitive eyes / lot of politics grabs
front-page status [site, mock context], a papal election
made pretty blurb, made print / you can recognize this
double behaviour / how I love that Albers loves
red, our want of sincerity or ode / of colour
a mother, stabbed, displaces popes — another day,
the pope returns, a jewel in his hat, its would-be good
[i.e., net worth] retracting zilch / and from all this you may
conclude that I consider ethics and aesthetics as one
* italics signify lines pulled from an interview with Josef Albers conducted by Katherine Kuh
Postscript, Cafe Ouky Douky
Manipulation in particular seems to play a significant role as a strategy of dealing
with the world and assumed reality. [...] Manipulations and deceptions become guidelines
in a pursuit of communication and a proper place — but first of all — they are instruments
to investigate never-too-near-approached phenomenon of truth.
* Adam Budnek, for the 2005 International Biennale of Contemporary Art in Prague
the contemporary interior here short-circuits
alienation sums Prague as this woman or
that woman browsing packaged hours i.e., tram times
to plot arrivals how this man quotes tourism
as asymmetric opportunity their lives in ochre
chapped by the same, pale city or costume
change a time of day, say 6pm, undressing
its turnover with the command to ponder
regularlity substance some moving thing
or metronome their conversation, rhythm poaching
the page like other countries, interrupting
as spectacle made norm by the universal
of cafe culture junctured, caffeinated, common
grounds, the rhythm of human digits drilling
and dwelling swigging, twiddling their high-
strung ways as a taut boredom the preferred
mantra an elastic gainsaying i.e., how she overhears
'I was just traipsin' streets when...' and waxes
meaningful falls prey to another sham
mayhem as stained glass lamps bearing fruit
indeed might break her foreign prerogative
to evade even cross-cultural ruts by any
means the vital act to fictionalise the local
as events let loose the abstract, fatten
narrative, exaggerate, befuddle, fuck up
the line we love this, she and I, for its schizophrenic
stealth we, double-time, risk ethics through
meddling spurn talk as ornament and aim
for the blunt and dusted buildings, their striations
and back-lighting by proxy mark observation as a misfit
stalker interlopers as postcards by Durex quoting
condoms as flying saucers the clatter of wind-chimes
of panes of glass reflective proving our patronage
or my tiger of a t-shirt and foreign cheek bones
bunk presence as witness a sigh of bloody
eureka and scribbling nicks the place
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