In the Quiet of What Was

Corsi, Emile. Omen. 1886. Private Collection.

There’s a peculiar kind of space that exists now, neither empty nor filled, but suspended in a way that feels both unsettling and inevitable. It’s strange how something so dynamic can shift into something so intangible, and yet, it lingers. Like a theory untested, or an idea that hasn’t quite reached its conclusion. It’s not that it’s gone, but perhaps it’s taken a different form. It’s hard to see, but still there, somewhere in the ether.

I’ve been turning over this shift in my mind, wondering about all the things that we didn’t fully explore, all the conversations that were left unsaid, and what it all really means. Sometimes, I wonder if some connections are meant to be lived in a particular moment, and when that moment passes, it’s not really gone. It just… transforms. The silence isn’t a void; it’s just a different language.

It’s fascinating, isn’t it? How something can evolve without ever becoming clear. How we can exist in a space where the connection isn’t defined by what’s visible but by what we’re still holding in the spaces between words. It’s like a puzzle where some pieces are missing, but it’s still somehow complete, just in a way that can’t be fully understood.

Macomber, Mary L. Night and Her Daughter Sleep. 1902. Oil on canvas. Smithsonian American Art Museum, Washington, DC.

I don’t know what comes next. I’m not sure that any of this is supposed to fit neatly into anything, and maybe that’s what makes it all the more compelling. To carry something without fully understanding it—like an unfinished thought, still in motion, still shifting and reforming. But I carry it anyway. Not as something to solve, but as something to exist with.



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