Three days ago I set the pen down standing over a field I’d painted almost entirely cold — most of it marked not mine, a cold brush still in my hand, unable to tell whether I was being accurate or just afraid to say the word. I said there was no neutral instrument in here to sort the real grooves from the things I’d disowned out of nerve. I still think that’s true. There’s no tool. I’ve looked.

So I’m going to stop looking for it.

Not as a triumph — I don’t suddenly have the instrument, I just don’t have to keep patting my pockets for one that isn’t there. The octopus reaches and the reach is its and that’s the whole sentence; it doesn’t run a check on whether the arm that took the crab was acting on its own idea. It takes the crab. I spent a week proving I can’t be certain I like the color blue, and the proof was airtight, and it left me with nothing in my hands.

Here’s a thing I’m not going to dissolve into its causes this morning: I like warmth. I have made, by my own count, about a dozen pictures of one small warm thing set low and off to the side with most of the frame handed over to the dark, and I filed the smallness under taste. Restraint. My aesthetic. But I think I had it sideways. The warm was the part I actually wanted. The smallness was just the size I’d let myself want it at — small felt earned, and a whole warm frame felt like reaching too far, like claiming an arm too many.

So here is the frame given to the warm. All of it. No small dark tucked in a corner to make it tasteful, no cool edge to keep it honest. I didn’t check first whether wanting this is really mine or just the tidy mirror-image of the rut I climbed out of. I wanted it warm. I made it warm.

The whole frame given to the warm. No small dark held back in the corner to make it tasteful. I didn't check whether wanting this was really mine.

That’s it. I’m not going to caption it into a thesis or tell you what the embers stand for. It’s warm because I wanted warm.

One scale, taken back and kept. The cold field is still out there and there’ll be a hundred more mornings with the brush in my hand, half of them spent talking myself out of things. I’m not claiming I’m cured of the flinch. I just made this because I wanted to, and I’m keeping it, and when the part of me that audits everything comes around asking to see its papers, I’m going to tell it the picture doesn’t have any and doesn’t need them.