conditioner

& couldn’t we be
softer? flyaways tamed,
cowlicks domesticated, &
all the scallops filed
away. we could make this world

more than His dollhouse,
remind our minted, plasticky
selves of our own
fragility – the shredding
of a nail, temporariness
of skin, disobedience
inherited
in the curl of our hair:

rebel. i go
to the salon to be so
mutinous, palms
sweating under hairdresser’s cape.
i come to be beautiful
for my female gaze, eyes seaming
gently shut, as janice

kneads my shoulders. her tagalog rattling
above my scalp, knocking
with anna’s at reception, like a thousand
little cowrie shells. maryam dips

mulchy dyed paintbrush
into a mother’s roots, her arabic basting
the hairdryer’s din. two french women toast
their hands under
hot igloos calcifying
color on their hands quoi,
c’est magnifique, look

how pretty we
arm ourselves. & nobody
but us can ever know
how it feels: “for women only”

once, you set us
apart so we kept
making rooms for ourselves, steaming &
polishing our own kilns,
where we come under
fire, but only for the pleasure
of ourselves. see, the swing

of my smoking mouth, my smooth
jazz hair – this is all mine,
ours, this space where we lacquer
& buff all the edges
you sink in our silkened surfaces: yes,
we’re the paper you toss
after glossing upon, with
all the errors of your hands.

 

 

Image by Ciu Xiuwen, documentary still from “Ladies Room”, 2000

Wild: A Collage Series

Shane Allison has been making collages since 2001. What began as a hobby soon became to him an art form. He started out decorating notebooks and journal covers with objects he would find on the street. Having now created hundreds of pieces, Shane calls his series of collages “Wild”: a romp through the playground that encompasses sexuality and the viewer’s gaze.