The Imprint · I — V
Works
Plate I · MMXXVI · 5:42
SUBSTRATE
Two heads, one filament — the seam where the self meets its own reflection.
An overture in obsidian and gold. Two figures lean into the same vertical line of fire — neither one the original, neither one the copy.
Cast as the first letter of the imprint. The substrate beneath everything that follows.
Sigil — The mirrored selves, divided by light
Plate II · MMXXVI · 6:33
PLASTIC CAST
What survives the mould is not the same as what was poured into it.
A coda. The cathedral has emptied; only the cast remains, still warm from its own forming.
Closes the sequence with the door left visibly open at the far end of the nave.
Sigil — The figure inside the bell-jar, holding itself
Plate III · MMXXVI · 7:04
PLUSH
A softer key. The treatise opens its palm.
The only daylight on the imprint. Pale silks, pillows, a colonnade glimpsed through the cup of two hands.
If the others are scripture, this is the marginalia — written gently, in the clearer hour.
Sigil — The hands that hold the threshold
Plate IV · MMXXVI · 4:51
WRONG FIRE
Devotion offered to a flame that was never asked for it.
A confession set inside a ruined chapel. Constellation diagrams left in the sky like unanswered letters.
The shortest piece on the imprint. The hardest to leave.
Sigil — The lotus on the altar, lit by the wrong god
Plate V · MMXXVI · 6:18
PRISM
The chamber turns one beam into seven processions.
A baroque optics study. The figures at the edge are pilgrims; the rainbow is not decoration but doctrine.
Recorded inside a single chord that refuses to resolve until the very last bar.
Sigil — White light entering, the spectrum walking out the other side