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Incorporating these eclectic themes, “incubation” exemplifies Wolfson’s style of poiesis. With its lyrical conjunction of above and below, melting and burning, “incubation” reads like an allegory of occluded and revealed light. Wolfson’s language forms a convergent site of incubation and excavation, concealment and exposure, evoking the flickering depths of what lies within while also providing a skeletal framework for the quickening development of emergent presence. Explicitly invoking Serapis, an Egyptian underworld god who assists in processes of spiritual ascension, the verse begins with a nominal reference to the king of the deep. Yet the interwoven patterns of the deity’s name also call to mind the realm of the serap(h)s, the angels that surround and guard the throne of heaven while weaving a living veil of light, as they plait the luminous drapery that clothes the elemental world of form.

Resonating with these poetic and spiritual associations, Wolfson’s abstract painting Night Traces (2008) is a dark, evanescent canvas that can be viewed symbolically as an overlighting veil that was woven in the interval before form takes form. In this tonally nuanced work, horizontal bands of black and white brushstrokes undulate across a visually spare surface, where they coalesce to form a monochromatic field of softly blended shades of gray that are heightened by contrasting accents of red and blue-violet. While the painting is wholly nonrepresentational, Night Traces could present an indeterminate view of nighttime darkness as glimpsed through the transparent surface of a plate-glass window, or perhaps a dissolving vision of moonlight reflected on wet city pavement. Building on an undifferentiated base of ground and sky, material surfaces and ethereal atmospheres become interchangeable. The scene discloses nothing, even as it gestures beyond the shadows of doubted forms. In the crossing of these thematic currents, the painting’s pictorial field becomes an aesthetic incubator that cradles alternating possibilities of presence and absence as it incorporates its opposite into itself. Thus in both Night Traces and “incubation,” the oyster and the pearl have become interchangeable, as their identity and their difference are simultaneously revealed and concealed in the enfolded depths of their reciprocally encrusted surfaces. As is the case throughout Wolfson’s oeuvre, such mutually intertwined associations are strung together like a strand of iridescent beads. Woven from gaping openness and secret(ed) out into the world, the artworks can be approached as veils whose underlying subjects remain at once draped and exposed, revealing as much as they conceal, so that “in darkness / we see.”

As this suggests, one of the remarkable formal characteristics of Wolfson’s oil paintings lies in their ability to convey a fragile sense of transient light, a dynamic quality that resonates thematically with the mystical capacity to embody multiple temporal and spatial locations simultaneously. Indeed, Wolfson’s canvases appear less like stable pictorial surfaces than as shimmering fields of luminous color on which forms continually crystallize, blossom, and dissolve, as shifting patterns light the paintings from within. Just as Wolfson’s artworks present these themes through a language of pictorial abstraction, they clothe their subjects in a range of sacred, angelic, erotic, and temporal associations. Coupled with ethereal titles such as Green Angel (2006), Fractured Androgyne (2006), and Inkblood (2006), Wolfson’s artworks invite their viewers to imagine the bodies of angels as painted incarnations of living light. Indeed, Wolfson’s creative and scholarly corpus can be seen symbolically as an expression of “flowering light.” This evocative image is taken directly from Wolfson’s poem “embodied naked,” This poem can be found in Elliot R. Wolfson, Pathwings: Philosophic and Poetic Reflections on the Hermeneutics of Time and Language (Barrytown, NY: Station Hill Press, 2004), p. 82. a work discussed throughout this text:

Questions & Answers

what is the coefficient of -4×
Mehri Reply
the operation * is x * y =x + y/ 1+(x × y) show if the operation is commutative if x × y is not equal to -1
Alfred Reply
An investment account was opened with an initial deposit of $9,600 and earns 7.4% interest, compounded continuously. How much will the account be worth after 15 years?
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lim x to infinity e^1-e^-1/log(1+x)
given eccentricity and a point find the equiation
Moses Reply
12, 17, 22.... 25th term
Alexandra Reply
12, 17, 22.... 25th term
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I am 1 year old but I can do it! 1+1=2 proof very hard for me though.
Not really they are just easy concepts which can be understood if you have great basics. I am 14 I understood them easily.
find the 15th term of the geometric sequince whose first is 18 and last term of 387
Jerwin Reply
I know this work
The given of f(x=x-2. then what is the value of this f(3) 5f(x+1)
virgelyn Reply
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If f(x) = x-2 then, f(3) when 5f(x+1) 5((3-2)+1) 5(1+1) 5(2) 10
how do they get the third part x = (32)5/4
kinnecy Reply
make 5/4 into a mixed number, make that a decimal, and then multiply 32 by the decimal 5/4 turns out to be
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I got X =-6
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oops. ignore that.
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Commplementary angles
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a perfect square v²+2v+_
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Abdirahman Reply
A soccer field is a rectangle 130 meters wide and 110 meters long. The coach asks players to run from one corner to the other corner diagonally across. What is that distance, to the nearest tenths place.
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Jeannette has $5 and $10 bills in her wallet. The number of fives is three more than six times the number of tens. Let t represent the number of tens. Write an expression for the number of fives.
August Reply
What is the expressiin for seven less than four times the number of nickels
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why surface tension is zero at critical temperature
I think if critical temperature denote high temperature then a liquid stats boils that time the water stats to evaporate so some moles of h2o to up and due to high temp the bonding break they have low density so it can be a reason
Need to simplify the expresin. 3/7 (x+y)-1/7 (x-1)=
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. After 3 months on a diet, Lisa had lost 12% of her original weight. She lost 21 pounds. What was Lisa's original weight?
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Source:  OpenStax, Flowering light: kabbalistic mysticism and the art of elliot r. wolfson. OpenStax CNX. Dec 09, 2008 Download for free at http://cnx.org/content/col10611/1.1
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