“The Great Collapse”

 

 

 

 

THE GREAT COLLAPSE

 

The Surity of War
inevitable like death
approaching
the dripping glowing
finger of god
writing on walls
only not for everyone.

The Great Collapse
coming soon
theaters near and far
thrills chills sights
never before or
again known
only in the bones.

Time Speeds Up
sometimes they say
grains and ticks
marks notwithstanding
the shadows too
play tricks
only when they want.

The Patina of Time
who’s to say if
your time is my time
when it’s my time
I’ll know or
maybe not
only time will tell.

The Blackest Humor
can’t save us now
nothing can
I am afraid
the smell is too familiar
if your nostrils
are open
only to the stench.

It’s Never They
say the same
twice and so
it’s all new
now although
flashbacks and premonitions
only proclaim the obvious.

 

– Diane Sophrin.
  Vermont, 12.25.19

 

 

 

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“This Should Mean Something – X”

 

 

 

 

THIS SHOULD MEAN SOMETHING – X

 

Soft black circles
this should mean something
ominous, empty –
not these round black spots
not these warm bundles of hope
how could that be.

I would like
to hold them in
close embrace
feel their soft warmth
the comfort
of which you speak.

The nights are so black
it’s only the season
Oh there’s light in the dark
think a million tiny sparks
spraying the night skies
strung up on Main Street.

Go ahead, laugh
at the slippage
and the loss
Rip Van Winkle rising
from his grave
bemused.

 

– Diane Sophrin.
  Vermont, 11.26.19

 

 

 

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“Like a Halo”

 

 

 

 

 

LEAF 2 (Like a Halo)

 

LIKE A HALO – II

 

Dead brown leaves
one or two
pressed thin
against the wet cement
like the ghost of a soul
barely visible
in the shallow pool of melting ice
salt crystals scattered
like a halo.

The sun is sketchy
warm but weak
The frenzy
before a holiday
Is not palpable since
I won’t celebrate
instead
standing aside
just wait.

 

– Diane Sophrin.
  Vermont, 12.26.19

 

 

 

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“Zigzag of Resurrection – II”

 

 

 

ZIGZAG OF RESURRECTION – II

 

A zigzag of decades
a back and forth of time
lost footing for a fast fleeting second
overfull with resurrection.

Hindsight moving forward
people crowding at the door
articulated memories overwhelm
then – a flood of acquiescence.

 

– Diane Sophrin.
  Vermont, 11.18.19
 

 

 

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“This Should Mean Something – IX”

 

 

 

 

THIS SHOULD MEAN SOMETHING – IX

 

Soft black circles
this should mean something
ominous, empty –
not these round black spots
not these warm bundles of hope
how could that be.

I would like
to hold them in
close embrace
feel their soft warmth
the comfort
of which you speak.

The nights are so black
it’s only the season
Oh there’s light in the dark
think a million tiny lights
spraying the night skies
strung up on Main Street.

Go ahead, laugh
at the slippage
and the loss
Rip Van Winkle rising
from his grave
bemused.

 

– Diane Sophrin.
  Vermont, 11.26.19

 

 

 

click here to open in PDF format

 

“ReVISION: ART AT THE KENT”

 

 

 

 

 

ReVISION: ART AT THE KENT
Vermont artists stretch the limits of ordinary perception

DIANE SOPHRIN - SCRAWLS AT THE KENT

 

This group invitational exhibition, housed in the historic Kents’ Corner Museum, presented large groups of works by seventeen Vermont artists. 24 of my works were hung, included new works like Eight Bigs Scrawls and Golden Intersections (here) as well as earlier pieces such as Fekete Ország, Blue Midnight, 18 Standing Collages (here) and a pair from the Tablet Series (here).

 

EIGHT BIG SCRAWLS
Eight Big Scrawls. 2019

 

GOLDEN INTERSECTION
Golden Intersection. 2019

 

 

FEKETE ORSZAG - BLACK COUNTRY
Fekete Ország (Black Country). 2008. Poem by Hungarian poet Mihály Babits. For poem and English translation click here.

 

 

BLUE MIDNIGHT
Blue Midnight 2009

 

Fragments and found materials have for years combined to form a compelling impulse in my work. The challenge of working within limits has always delighted me, the seductive history embedded in discarded cards, tickets, newspaper clippings and other ephemera has always intrigued and inspired. I have also used handwriting as a repurposed drawn element which reflects a duality of language – visual and literary. For more than a decade I have been stitching papers together, increasingly conscious of the cultural and physical allusions and implications of stitching, as well as the textural and linear qualities of the threads themselves.

What does the use of disparate and found materials signify in my work? Is the gathering and combining, assembling and reassembling of visual and tactile elements solely for the purpose of creating a new whole out of fragments, or conversely, is it also about the fragmentation of what was once whole?

Diane Sophrin
  Montpelier, Vermont, 2019