Fugue #128

- Is Marbell coming back...today?
- No, he’s not.
- Oh, ok. Because I just had a question for him.
- Can I help you?

The menace of long fishnet gloves, with velvet laces from fingertips to pits.

- Uhhh...En, I’m gonna go. I’m supposed to meet Ana for coffee.
- Wait, Paul. Do you think I’m hitting on you?
- No...pffft, no, no way, hehe. No.
- Paul?
- Seriously, no.
- Because I’m actually working on a new piece.
- Sure, of course.

She explains it terms that he can’t understand. Butoh (with an "h") symbolism, and a loose narrative about the work of Ellsworth Kelly. Pools of paint, or is it ink? - soaking in, spreading out - like the light from the studio window across her bare chest. "Luminosity," Enbal asserts, and despite everything she shows and Paul sees, there is a physical reticence, a fragility that, pace German critic Thomas Kellein, departs from the traditional understanding of "hard edge." This is Act II, Kelly in Paris: seeing, learning, drawing.

The intercom buzzes.

- Yes?
- Hey. It’s Ana. Have you seen Paul?
- Yeah, he’s here. C’mon up.

BZZZZZ...