I’ve lapped this circuit once before,
and stopped before the girl in Puberty,
the long wrists crossing her pudenda still.
I’ve turned from wanting to protect her,
scanned The Dance of Life from left to right and birth to death,
tried not to see that leering fiendish face lean in,
and of course have heard the Skrik that sounds around the world.
Today the one that caught me and called out from its frame:
the study of the trio on the bridge,
a moment frozen for all time that nonetheless
moves form and matter so all swirls and flows,
vibrates as matter does,
the stilled and staring girls themselves a single shape in aureole,
road rushing down in shooting lines
and all forms molding into one another
as the physics mystics say they do.
I stood intoxicated, psychedelicized,
stood swimming in those lines and shapes
and saw again how all great painting takes the apprehended world
and melts it down to show it as a single intermingled thing.
In three dimensions we’re deceived, believe we are
discrete and solid selves,
and so we stop upon the bridge and scream.
National Gallery, Oslo, February 2014