THEIA (REDUX)
registry no.
edition
format
registered to
collection
AP-0031
5 of 15
A2
art print
azlan
Gods & Monsters + Post-Cyberpunk
THEIA REDUX
Before there was a moon, there was Theia.
She was the light-giver, the Titaness whose name means only sight, and who was said to lend gold and silver their brilliance simply by looking at them. She did not shine. She caused shining.
Then she struck the young Earth and came apart, and what was left of her cooled in orbit and became the moon, and every account of her since has been written by the things that survived her.
REDUX is the second attempt.
What could be recovered was recovered.
What could not be recovered was replaced in chrome, and the recovered parts did not want to hold. So she is bound. Black line runs the length of her under tension, crossing the sternum, the hips, the outside of each arm, tuned rather than tied. The lines are not restraint and they are not ornament. They are the only reason she has a shape at all.
Over the eyes there is a lattice. This was not done to her. She requested it. A being who causes shining cannot be allowed to look at whatever happens to be nearest.
At the sternum, sealed behind glass, sits the compartment listed in every schematic as the housing for the recovered remainder.
Visitors report that it reads empty.
The moon has not been asked to give anything back.
designer's notes
No hue anywhere. The entire image is value, with warmth appearing only in the skin and the lip. This forces every read to come from reflection, and it means the two whites in the piece, polished chrome and matte body, have to be separated purely by how they handle light. That was the real technical problem.
The black lines are the only graphic element in a fully rendered image. Thin, hard, unmistakably two-dimensional against three-dimensional volume. That contrast is what makes them read as tension rather than as cables or hoses.
Shibari logic, applied structurally. The lines connect anchor points rather than wrapping around volume. Rope that wraps is restraint. Rope under tension between fixed points is structure. Everything about how she reads depends on that distinction, and it is the reason the piece is not simply a bondage reference.
The eye lattice is open rather than solid. You can see there are eyes behind it. You cannot meet them. An open cage is more uncomfortable than a solid visor because it withholds contact while proving contact is possible.
Two typographic moments, top and bottom: the number at the crown, the name at the waist. They pin the vertical axis and give the eye somewhere to land at each end of a very tall composition.
The shoulder spikes are the only aggressive vector in an otherwise passive pose. Everything else about the figure is held, tethered, or supported. One upward gesture is enough to stop it reading as purely victimised.
Authoritative record
The details above constitute the authoritative record for this piece, produced and certified by SYARAWI®. The physical certificate accompanying it is a pointer to this record. Where the two differ, this record governs.