The Two Coffins by James de Leon
Decisions were made and the room was finally hers. An iniquitous glance over the shoulder signals the invisible organist who, in turn, pipes a sustained double low C chord dropping the mood like a red velvet curtain. Somewhere Stanley Kubrick’s ghost was squinting through tepid glass. James de Leon
The uninitiated always ask “what kind of camera do you shoot on?” I hate this question. It’s unimaginative. But for the record, it’s a near-broken Pentax 67 and a Canon AE-1 that sneezes exposures. I hope this warms your soul. But let’s not get distracted.
She’s waiting, seething, hydrotherapy not as a remedy but simply a reflective layer of simmering hate. Down in the grotto, the dance submerges then builds into parabolas among wandering rocks. She imagines turning lost men into insatiable beasts, their attention caught in bright whirlpool screens deep and misunderstood as ancient Greek oceans. Circe would be proud.
Model: Giselle Mynx (@gisellemynx)
James de Leon is a visual artist based in New York City focusing on cinematic portraiture