
(Continued from https://ethicaldative.com/2021/09/28/ballin-the-jack/)
When Siddhartha Huff’s adopted ding learned he was suspended from the organ donor pool, the saucy rogue promptly gave himself a name: Claw Hammer. Sidd put Claw Hammer on a regimen of slenderizing drugs and commenced tutoring the tatterdemalion for the role he would play. The game was on.
Sidd adjudged the grubby urchin capable of fitting into the intricate mauve jumpsuit with ochre piping he reserved for apex state occasions. The trick would be training the nugatory lump to affect a strut passably intrinsic to the garb. The swagger and mince at a duchy ball were ecstasy grade. A ding-born guttersnipe raised in a cookie-cutter flat with tatty curtains was dismally unsuited by birth and breeding to walk importantly.
Sidd’s ruse, however, required only that he pass Claw Hammer off as himself for a strategic interval. The task was to enable the uncouth hobbledehoy to impersonate a personage for the few moments it took to point and shoot the antique “camera” at the posed Posse of Matrons. It would be challenging, but it was paramount to Sidd’s journey to free the Mamasutra in herself from his Rhipidistian chains.
(c) 2021 JMN — EthicalDative. All rights reserved










‘A Gloriously Unsatisfied Painter’
Brobdingnagian ocular hubbub. Colossus of hue and scream. Tympanic boom. These phrases leapt to mind — of course they did! — as I eyed Sarah Cain’s work. Confession though: Cain owns me for rejecting the term “murals” in favor of “wall paintings.” Call an abattoir a slaughter house is the principle I chase.
(Jonathan Griffin, “With Big, Bold Art, Sarah Cain Redefines Seriousness in Painting,” NYTimes, 9-30-21)
(c) 2021 JMN — EthicalDative. All rights reserved