Oil, collage, cardboard, so not a painting.

Collage as diagram. Diameters. Distances.

Circles collaging colours between two human figures.

This is the diagram of proxemics:

our social science study of distances in society.

The figures, a masculine and a feminine,

are walking through a dizzying field:

concentric circles coloured in quadrants.

They are ambiguously paired.

Are they swaying, dancing, commuting through wind?

Only the outdoors are this bright, this variegated,

only urban walkers wear clothes that pose, so.

Are they walking together? In tandem? Parallel?

Are they walking away from each other?

Are they merely on opposing sides of a street?

The colours and their impossible references,

that disproportion the proportions of human figures,

also dismantle parallels and vanishing points,

obfuscate strictly vertical spines or whirled liberating kicks,

heights, depths, widths, are, here,

simultaneously mapped-out and inconceivable.

Proxemics are always patchwork,

political values imprinted on proportions and betweenity.

However, without “Drama” in the artist’s title card,

how could these colours be anything other than awakening?

What would be the conflict when there is no reason in clashing:

except for indiscriminate decoupage,

these colours are dazzling, may erase a setting or be the setting,

the center is near, far, material, imaginary.

This is the diagram of “the social” in the extreme.