You saw me within a grey facade.
I saw you within a grey facade.
You saw me within a grey facade.
Once the nurses wiped away the blood,
the boy glowed like angel without wings,
crying, squirming, while you gazed at him
with red streaking through your eyes,
anguish wrinkling the paleness in your face,
and a heart, empty like the unfilled bottle.
Father never taught me how to love you.
When their eyes were dazzled
They fell giddy from her wily smiles, dirty and bookish
Suddenly she was the climax of their whole lives
Suddenly she could see their futures and was helpless to warn the wretches
She easily becomes a part of everyone she ever meets
A knife that cuts going in and cuts coming out
When I'm alone, I'm always thinking about the same thing, which is the interior (and other) lives of the characters in the novel I'm writing. It's been this way for my whole life, not with these particular people, who have changed over time, but with imaginary people. It's one of the reasons I like being alone so much, because it's really hard to get a good grip on them when I'm with other people, and I'd almost always rather be with my characters than actual humans. If we're not together for a while, I miss them. I need a tremendous amount of emotional space to write fiction, and if I don't have it, I get very tense and sad and anxious and start acting like a complete garbage bag.Read More
The multi-cycles presented me with a reflective new series of work to honor these artists, while also recognizing the cycle of erasure, all the while attempting to remember their contributions. So with my latest series, Mother Artists (Tributes), I created body prints evoking a camouflage color theme including leaf prints, which could reflect several people silenced or lost to history—in art and beyond. Onto the prints, I script quotes from feminist and women artists from past and present about their work, intent or gender issues. I script the quote several times over and over in attempt to remember their names and contributions, to paint over and/or erase it when I’m finished. What is left is an erased effect, with some of the words and their names legible, but not quite. Though the titles hold onto the artist names, most of the text is lost in the image, reminiscent of the cycle of erasure not only potentially for the artist, but for my attempt to recognize them with my art.Read More
As a service provider, I really just want to help you become your best self. I used to be obsessed with that What Not to Wear show, and there were a lot of great tips on it, but at the end of the episode everyone just sort of looked homogenous and like a very specific version of what style was supposed to be, and I don't so much love that. I think you can make any look work as long as you really commit. I don't just want to mold my clients into my specific vision, I really want to help them find themselves in a way that's authentic. I'm not a huge fan of this whole Kardashian-Instagram make-up trend where everyone's contoured within an inch of their lives and all the eyebrows are done a specific way and the lips are done a specific way. If that's genuinely how you want to look, go for it, but it's not gonna be what's comfortable for most people. I've got to a point now with my make-up where I know what works and I know what I like and it feels like sort of a second skin, so I think that's the goal.Read More
Publications and editorial services site of Nadia Gerassimenko, poet, editor, and author of Moonchild Dreams.
Copyright © Nadia Gerassimenko 2017