Pied a Terre Lumiere

At concentrated sources of extreme coldness,

surplus glut of stale household condensation

and fresh morning dew fall accumulate and centralise,

where they mix and gel,

freeze rock hard into ice nuggets,

frost over with fireproof snowflakes

and mature into

see-through glass, crystal, diamonds, silver and stainless steel. 

Their strength, energy and force sets off fuse ignition,

sending sparks flying,

flammably burning

 -but these stone power-packs themselves,

withstand all heat,

never even thaw out slightly, let alone melt away,

damage repellent immunity strain being resistant,
durable and indestructable. 

Borne aloft on the sudden gust of a gentle breeze,

a flock, pack, shoal or swarm of such units comes together,

forming ballroom dance-floor solid rivers,

often abruptly halted and stuck at unbroken standstill,

as well as ethereal gaseous liquid pavements and roads
that sometimes stir, flow and gush forwards. 

Moving along,

only at a dead-slow snail and tortoise pace,

both infantry processions parade ahead boldly,

glow sunshine and spread warmth,

preventatively cancelling out villainous power-cuts that would otherwise successfully plunge brightness and clarity of day

into invincibly dark night time sub-zero conditions.

Copyright, Douglas Park, 2002

Public Art Work, Bellevue, by Rut Blees Luxemburg

Nantes, 2002

Images Copyright, Rut Blees Luxemburg, 2002

Text by Douglas Park read at the opening of the installation in Nantes, 2002

‘Pied-a-Terre Lumiere’, 

premiered at launch for 'Pied-a-Terre Lumiere', public artwork, 

Place de Laurieres, Bellevue, Nantes, 2002 

(1st published, as artist's pages, with Rut Blees Luxemburg in 'Miser & Now' magazine number 3, 'Future as Nostalgia' issue, various editors, Keith Talent Gallery, London, 2004); afterword, ‘Trinativity’ (English / Welsh, translated by Sian Edwards), 

'Ffolly', Rut Blees Luxemburg, Ffotogallery Ffotogallery Cardiff / Glynn Vivian Art Gallery, Swansea, 2003.

Have also helped "christen" works, such as 'Ffolly' and 'Orifice Grid'.

Sometimes, Rut Blees Luxemburg exhibits and publishes black, white and grisaille trial-run polaroids from site-visits, plans for usually colour, high-resolute and large scale works, often including accomplice's inscriptions.

Jokes were made that ‘Pied-a-Terre Lumiere’ and 'Trinativity' were worthy candidature fodder as arias in the 2004 opera, 'Liebeslied / My Suicides' (Alexander Garcia-Duttmann's libretto using earlier texts for Rut Blees Luxemburg, set to music by Paul Clark).