Painters' Exhalation 4
—after André Derain's Waterloo Bridge

The violent thrown punch
of sun's daily burst
spilling knuckled angles atop
translucent air
woven into reflectional
blankets of concentrated
deposits. As if monochromatic
renditions of green spotted
frogs relaxed on bathing backs,
river of motional housing
moved toward its ending space,
human crawling into his casket,
closing before its reason changes
hypocritical direction. Bridge of
content, distanced from local feet
traveling where eyes never land
in lucent observation. Many days like
this slither the memory, awaken
during a night spent throwing regret
against compressing walls, the beauty
of existence a simple silhouette staring
into the eyes of mirrored permanence.

Painters' Exhalations 5
—after George Bellows' Stag at Sharkey's

Among the many antlers
entangled in antiquated survival,
heightened sight and
dispositional disputing
rests on rising rage
pushed into the desire
man calls
coming to blows. Night never ends.
Its darkness sits
assigned to the shadows
constantly affixed
to the shifting feet
bracing for redistribution
of weight's uncanny balance. Crowd
of fear's followers cheer and
laugh, traveling toward appearance
based on uncovering winners
draped in blood's crimson attire.

Painters' Exhalations 9
—after Claude Lorrain's Landscape with Dancing Figures

Earth dirt, beautiful ground, sender of
slender figures twirling a dazzling dance.
Trees sway, projecting their own brand
of rolling music. Even the boats,
oar-propelled from human mechanics,
soar above the walking
monotony, the muted whose feet
cannot fathom semblance of musicality.
Water's buzzing hum, invites a thirsty leaf,
the totality of the landscape's shadow
swims toward the target of absent
boredom. Picture an earthen plate,
tinted with the tones of many soils. As
ants appear from nothingness, their tails
mirror scampering legs, fabricating vibration's
multilingual timbres. Isn't this the likeness
of land's altered beauty, signifying
dance breathes an implied enjoyment
spoken in vain, or, culling multilayered

Painters' Exhalations 10
—after Frederic Remington's Dismounted:
The 4th Troopers Moving the Led Horses

Dust cannot hide the missing, the breathing.
Splayed nostrils depict a seasoned panic,
aggravated locomotion. Mountains
peek from assimilated distance,
introducing vision to accident,
to possible deaths of riding glory. Eyes
of planted stones in awe of angled speed,
transformational occurrence. The death
of hooves over distance and
maladaptive causation. Air faints
as its brittle bones become dusty
skeletons, littered atop light's anonymous
wings. Man dies here, as does a wave
dissipating into sand's cupping hand, he,
the fighting, landing where a pause is eternal,
blood reuniting with the openness of a wounded

Painters' Exhalations 11
—after Georges Seurat's
Sunday Afternoon on the Island of La Grande Jatte

What is care here? Within the golden
shade, whose mouth can wrap blaspheme
around the dainty waist of this day's flowered
skirt? Mothers converse
and juxtapose pride for their
children's honor, with the joy
of hugging respite from the clamps of
home's many obligations. A black dog
sniffs a curious inhalation, finding
rescue from boredom, the odd
trait of chasing tail into wobble. A
leaning pipe attached to stilled
lips and latent man, its smoke
leaping toward the monkey
whose leash both jails
and releases into action. Many
connotations multiply into
splayed meaning: today is rest,
is the untying of knots formed
around the breaths of life's
regrettable irritants.

© Felino Soriano

Biography Note:

Felino Soriano (California) is a case manager working with
developmentally and physically disabled adults. He is the author of
two chapbooks "Exhibits Require Understanding Open Eyes" (Trainwreck
Press, 2008) and "Feeling Through Mirages" (Shadow Archer Press,
2008), an e-book "Among the Interrogated" (BlazeVOX [books], 2008),
and has a chapbook forthcoming "Abstract Appearance Reaching Toward
the Absolute" (Trainwreck Press, 2009). The juxtaposition of his
philosophical studies with his love of classic and avant-garde jazz
explains his poetic motivation. Website: