Irene Koronas

“1°,” “2°,” “3°,” “4°”

excerpts from Chiaroscuros  

Volume VIII, The Grammaton Series 

 

 

The idiom horns

gesso the end of a line

a domain poureta

 

From residue it returns

language to neoochre

the surface picmodi

 

No grit grooves

the stub on the iron

oxide palette

 

The shields against evil

 

Bomvi, hematite

or iron ore

 

on a veil

on a mask restituée

 

persist as a parish

in misprision

or riss

 

in adequation

 

This steepwrink

secretes a scape 

 

 

 

 

Mauveine the parasite

divide. The canvas lingo

from lemmata to parerga

 

from exergues to cartouche

links a contextual graft

The pigment ural

 

undertones by parergon

 

puts in place the cerne

attempts to decrypt

the phonic polylogue

 

n + voice

 

voice + van gogh shoes

overlap and chart

spidery black codes

 

with hot lapis between

the out and in

on virgin index cards

 

The appearance

bevels the question

what is art

 

The cultural plot

 

in retroscene and rhetoric

that overdetermines history

 

A hysterical edifice

to articulate

the neobaize

 

or those saturate scarlet

filigrees smear x + q

 

 

 

 

 

 

The syntagm (etymon)

(un et nu). Polysemy

in tekhne hidden

 

behind multiplicity (art)

 

Opticks. Encoding the social

strata a russet confine

and a scarlet silt (wine dark)

 

melas (black) erythros (red)

 

pace divides the spectrum

in five slices of tricky pigment

in third terms (bluck)

 

(teleology) (sage) (dichtung)

(sprache) (nennen)

 

A (prime) circle changes

tochistes (gongorism)

(euphuism). Philos

 

detaches definition (hue)

 

Hues affright whiteness

the bisected symcolor

the eponymous albino

 

White has otherness

and it sluds the mix (murk)

 

Zinc oxide (or titanium)

accelerate rhythm

 

Still in a circle an internal

border. By invagination

the point then departs (telos)

 

encircles necessity

 

and traces itself around a gast

a ternary circulation

a somnambulist chirico

an arp watch shapes

between thick opaque

crystalline structures

 

Verdigris’ long sieve

dictates the unconscious

 

A conscious palladio

fetches the flat lead

form. Paddies redangle

 

 

 

 

 

An azurite skeleton

is plastered ceruse

(white lead)

 

(red lead)

mixed with vinegar

 

The tomb remains fresh

 

A lemmatic corpse

in its own gauze

 

a backward bone

a fecund sinew

a naïve urn

 

the mortis leap

into a terracotta glaze

 

Lucifers sulfuric wings

polyconvulse in sateen

and lampas

 

postface the lesser

metaphysics

 

beyond callistics

the frame hangs

the ruption

 

the false avant-gardist

the abstract alter

 

explosive

in its static flux

Irene Koronas is an extreme experimentalist. Her The Grammaton Series includes gnōstos, Volume VII (BlazeVOX, 2023), siphonic, Volume VI (BlazeVOX, 2022), lithic cornea, Volume V (BlazeVOX, 2021), holyrit, Volume IV (BlazeVOX, 2019), declivities, Volume III (BlazeVOX, 2018), ninth iota, Volume II (The Knives Forks and Spoons Press, 2018) and Codify, Volume I (Éditions du Cygne, 2017).