Obscured II

The scoring comes right up to the head and stops. It runs out across the cobalt in long parallel bands and never once touches the face, which sits clear of all of it in a few white lines.

Being left untouched turns out to be its own kind of exclusion. Everything around has been written over while the figure is worked around, seated and entire, holding more of the canvas than anything else and none of the interest. Being covered on purpose is one thing, and at least it acknowledges you. Being passed by is colder.

Whatever hangs beside it soon looks as though it is being avoided as well.