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  • You never know how an image resonates until afterwards. A sunburst on the window unexpected. A conversation intermittent with Stephanie about "The Hunger Games" as you torque the Flip camera with infinity curves, capturing the icon. Diana the Huntress. The Bow Master. The Archer.

    Rhiannon drew her once, sitting on a bench some distance away, so thoughtful with the eraser, testing the smudge lines to create a copy of a copy that's believable.

    The drawing resurfaced last August after the flood. It survived the pipe bursting behind the furnace, the unexpected waterfall that cascaded the studio with puddles seeping the artworks, the archives, the collections of pages.

    A 13-year old sketched this. A survivor. You hold it up to the light to admire the equipoise balance she captured, the exquisite abdominal curves.

    What pulls the eye to this golden effortless body perched high on a pedestal in an interior garden designed to mimic a real garden in Paris, or Florence, or a turn of the century rooftop across from St. Patrick's Cathedral? A soaring panoptical shift away from the Tiffany sunsets in forest glass along the edges of the gallery.

    Diana the Virgin. Artemis the Brave. Or did you invent that in a summer of archer girl images named Katniss and Merida?

    A long conversation of girls have walked the marble expanse with me--Finn, Kate, Sara, Rachel, Rhiannon and Stephanie--looking up and naming her.
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