This ceremonial façade is likened to an ancient folklore which has been dipped in forbidden secretions, even though my arts are sincerely darkened to unfathomable depths of surprised and ambidextrous naiveté.
I have constructed the choreography of this metaphysical dance, which lingers on the brink of sociological pronunciations, and where the liberty of gargoyles spew their fluid projections from lofty heights across the four directions of our moralistic city walls, where magnetised needles ***** my soul with the earth-shattering clarification of true north.
I love to sit in the dark and to be enlightened, as the eerie silence bellows her validity across trans-national sanctions, where the fallacy of liberation is juxtaposed with a socio-political and fetishistic confinement.
I believe that classical infidelity is like a beautiful Gothic cathedral where silent rage has an ebb and flow which is not easily ascertained amongst our sub-cultural and contemporary cohorts, where dynamic equilibrium truly encapsulates the co-existence of opposites, which are said to attract.
So, as we gather in the menacing serenity of the dark forests, where geography marks her ancient alignments from sunrise to sunset; can we now pray and give homage to the spirits of history, in this underground finesse of paradoxical equilibrium?
I love democracy, as she gyrates her sensual community wantonness on this conveyer belt, where the vital functions of our organism slink into sleepy cessations of universal structures where causality releases her excitatory expressions of organic physiology.