The Clinic
Conjecture a clinic for the vain, loaded and depressed;
Overt opulence, an exclusive attraction for the self indulgent.
A necessary short cut therapy for acquiring empathy, quickly.
Drawn in by a parade of palms; a facade of the Taj Mahal.
Clean cut doormen host the Scientology blue eyes
Black tight pleat less trousers host suggested phallic tension
And an all too adequate capacity showing, beckoning.
Ushered in to a sumptuous shag piled entrance foyer
The voluminous soft leather couch beckoning an easing
Sinking in undisguised the fleeting up skirt titillation
With mirrored walls revealing all in self centered reflection.
The Gold Card almost lost in gilded ornamentation all around
Our diamond adorned Hostess purrs her deep throat welcome
Obsidian eyes sparkling, smiling, high cheek bones, full lips on
Open mouth revealing perfect white teeth and red tongue between.
Tantalizing in a languished anticipation of blissful deliverance
From introspection and vanity eradication in pursuit of the elusive
That magnetic quality - ultimate in popularity, simply empathy.
Please come with me, my dear. Just through the door.
You take that chair. Don’t mind my back while I prepare.
Black velvet gloves with Velcro palms crawl up her arms
While subject inspects the rounded tight skirted booty,
An overpowering distraction, now flinching
And hips here twirl as the full blooded swing
Comes in for the remedial action slap and slap!
Take that you conceited motherfucker;
The patron staggers down the exit corridor
Walls adorned with canes, whips and strops.
And each will come back for more precious empathy.
Our hostess blows a kiss and smiles.
To make her composition Antropofagia , the Brazilian painter Tarsila do Amaral conceived a creative union of two previous works: A Negra (1923) and Abaporu (1928), as if those colossal beings were interdependent, one interconnected to the other. It is impossible to understand this work through a conventional reading, the one that is made in the analysis of details. The observer must choose another conceptual level, since the two crude forms, presented by the artist, refer to the state to the primitive.
