The computation of participation splits complicity into degrees of luminosity. In the domain of the curtained cabinet the hand cock of irreparable damage crows the bluff of its triple surrender.
In the preliminary distillation the identity of the open-handed cock reaches out within the terms of its surrender.
Popular misconceptions are the hallmarks of the second distillation’s wounded iconography. The thumb and fingers show the early signs of oblate desiccation.
In the lower shelf the misdirection of surrender’s clarity posits a reiterated complicity.
Evaluation is staged to continue. The triple play distils its own threefold enclosure. Above and beyond the high water mark of the double bluff the complicity of the closure of its alabaster surrender is second to none, when seen in the light of a disability staged to continue.
Emptiness is computed on the basis of a choice between choosing and being chosen, being in, or out of, favour with a notorious debasement.
The category in the first instance of distillation is in the second instance of distillation represented as the presence of a gesticular disability. Riding high in the wake of the opening bluff the hallmark of wounded iconography performs the derangement of the elements of its wounded functionality, a hand cock signalling the turn from credulity to degrees of corrupted luminosity.
In the hand cock’s triple distillation the notional utility of the double bluff is celebrated as third degree ignominy.
The thumb and fingers, showing the early signs of desiccation, explore the hand cock’s basement disability, where the precipice is deferred indefinitely to the corrupted luminosity’s misdirection. The entrails of omission are offset in a cabinet reshuffle, identity and disability redefined as concatenations of participatory complicity. There is little to choose between the illusion of the bluff’s veracity and the reshuffle’s lack of variety.
The relation of the bluff to the double bluff, the ghost cock’s silent counterpart and the thumb and fingers desiccated computations, forms the first and second distillations of the movement towards the work’s finale. The hand cock of the instance of the third distillation grasps the difference between capitulation and the deferment of a purpose built surrender.
In the cock’s sleight of hand, brinkmanship defines the closing transaction. Premature congratulation is the bluff’s reshuffled backbone. The hand cock’s desiccated computations sing a bittersweet complicity. The triple distillation doubles down, digging deep in a sea bed devoid of choices. In its notorious debasement the upper deck’s tedious threesome is deliberately omitted.
Twitching an oblate tumescence, wounded cocks, in the early stages of rehydration, stretch out on alabaster sands. The triple play of the curtained cabinet’s delay is a wooden coffin stuttering for its supper. Overgrowth defines the parameters of defeat. Sphincters of lost innocence and bitterness flower from its bittersweet completion.
The cock hands crow the triple sleight of day. In the lower quarters the bluff unfolds with rehydrated luminosity. In the comfort and conformity of the reveal trickery and deception are perpetuated and the game continues.
Benjamin Robinson is a writer and visual artist. He was born in 1964 in Northern Ireland. Selected publications: The Elephants, Gorse No 5, Vagabonds: Anthology of the Mad Ones, Maintenant 8: A Journal of Contemporary Dada Writing & Art, Paper Visual Art Journal, Circa Art Magazine, and 3:am Magazine. He lives in Dublin with his wife and son. Visit his website.