a panoply of angles
and a complex set of curves
where the orthogony of the builder
encounters the topography of the earth
this built landscape mature enough
to have become a three dimensional palimpsest
the intentions of the original authors
relevant no more to the needs
of contemporary tenants
a bricked in window
above a sealed over hatch
the aesthetic impact of change
“maintained in good condition, but
with no purpose,” now a nod to
Akasegawa’s hyperart:
a Thomasson
mundane beauty emerging
organically through the confluence
of time and place in the Anthropocene
pure art for those with eyes to see