Slippery Interlude by Zara Kand
In my dream, I am both chasing and being chased by a symbol of idyllic male, presented in the form of androgenous David Bowie. Shirtless, of course – his ivory skin exudes a hot, paranormal glow. A privileged but fleeting object of his desire, I know I must quickly succumb, or else this poised gaze will fall upon some other greedy admirer. I’m wearing a previous version of myself, when I had once held the position of crème de la crème. Self-consciously, I know this effect will swiftly fade (much like the reality of my waning beauty, played by time’s lyre). As long as I hold my confidence, though, the moment is mine.
We drift through transparent corridors, leading to a plush den draped in velvety mounds. I can already see the orbs of soft light and oozing walls. As we reach the entrance, my confidence falters: Has he recognized the imposter in me? He vanishes.
I am no longer at his side, but in another room with dull monochrome people, the golden glow a mere perfume dying midair. They want to know what I’ve been up to. I recount the fantasy I’d just been having, and as I describe it, the sensation of writhing tongues becomes me. I am with him in real time again, commencing our embrace in the den, but only partially. I am a hollow audience member, gazing into the window of giant mouths enmeshed in saliva. Pathetically, I yearn for this experience I’m in. As I describe the scene to the rest of the group, they laugh and tell me I ought to quit dreaming.
Zara Kand is an award-winning symbolist painter, mixed media artist, freelance writer for prominent arts publications, and curator. She was raised in Europe and has lived in the US for the greater part of her life, creating art since a wee toddler. Her work is most often referred to as dreamy and emotional, with dark and psychological undertones.