And you don’t know what will sprout And you don’t know what will sprout
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Photo by Daniele Levis Pelusi/Unsplash
Experiences

And you don’t know what will sprout

Maria Czekańska
Reading
time 2 minutes

instead of flowers I got seeds
without pots, soil, or light.
I set aside money, bought a garret:
the sun lit up the windowsill,
left the rest of the room dark.

I found help online:
unwittingly I found myself in a community of gardeners.

standing in line once, talking,
I was accused of carelessness,
as I was smoking, and with flowers nearby!

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I’m not smoking, only
smog has crept through the window
and flutters its wings.

months later, I’ve emerged from the shadows
and just now have noticed
the sun lights up more than the windowsill,
and in the flowerpot the lemons are bursting with juice.


Author’s comments:

I wrote this poem in a smoky room on one of those evenings when you look in vain for the light and hold on to the one bright spot in whichever corner with the hope that it will get bigger. The words of Greg Dulli’s song came to me: “Step into the light, baby.” And so, through the music and the haze, with feet dirty from the soil, I stepped into the light. Sosnowski wrote, “A poem leaves the house and never returns.” Read this one, and then create your own story.

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Sad Tropics Sad Tropics
Photo

Sad Tropics

Wilhem Sasnal
In his recent, timely show Sad Tropics at Anton Kern, renowned Polish painter Wilhelm Sanal turns his cinematic gaze on his sojourn in Los Angeles. Named after Claude Lévi-Strauss’ anthropological travelogue Triste Tropique, it is a commentary on the contradictory nature of urban life in a natural paradise. From his bicycle vantage point, Sasnal has a unique perspective on the city—that of a temporary resident with the fresh eyes of a visitor. 
 
LA has always been a place for dreamers and misfits, which is fitting for an artist such as Sasnal. Amid the sprawl of freeways and strip malls characteristic of the American landscape, he finds the beauty in the banality. In his trademark reductive style, Sasnal paints trivial, everyday life—the scenes of contemporary reality. We see his daughter glued to her cellphone in spite of a beautiful sunset. Motion sensors, trash cans, and ocean rocks are all treated with his distinctive style of simple silhouettes and pared down, yet saturated tones. Bushes are rendered in his signature fluid brushstrokes. Paintings of signs feel like Xerox copies. Using his masterful technique, Sasnal paints not only the visible world of Los Angeles, but the psychological landscape of our time—one marked by uncertainty, contradiction, and an ever-shifting sense of place. 
 
Alongside his exhibition, his new feature film The Assistant will premiere at the International Film Festival Rotterdam. Made with his wife Anka Sasnal, it is an adaptation of the 1907 eponymous novel by Swiss writer Robert Walser. The story follows a man who takes a job as an assistant to an eccentric engineer inventor, and finds himself in a myriad of ever-changing roles. Despite his prolific nature, the engineer only manages to produce a series of bizarre and impractical inventions that drive him further into debt rather than bringing the fortune he desires. Though written in the early twentieth century, its themes of servitude, ambition, and connection resonate deeply with our current landscape, much like a Wilhelm Sasnal painting.
 
‘Sad Tropics’ runs through March 6, 2025 at Anton Kern Gallery in New York.
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