Rage is poetic violence The imminence of beauty rots in the chest of a daughter Make death proud to take us

When the Mouth has No Witnesses

The Bodies to Get Away With

Enter the Alleyway ↓

The question remains as to the ordeal, a secular one this time, that abjection can constitute for someone who, in what is termed knowledge of castration, turning away from perverse dodges, presents himself with his own body and ego as the most precious non-objects; they are no longer seen in their own right but forfeited, abject. The termination of analysis can lead us there, as we shall see. Such are the pangs and delights of masochism.

— Julia Kristeva Powers of Horror
G.H. Mosseri: pink hair, a tattooed hand raised to the face, looking up and away, in sunlight on a city rooftop.
Name
G.H. Mosseri
Age
22
Nationality
Filipino

Art Abolitionist.

II. — About the Artist

The Heretic

I. The name

G.H. is a name loaned from the titular narrator of Clarice Lispector’s novella, “The Passion, According to G.H.” The book is ensconced in what is leavened by Julia Kristeva in 1980, her psychoanalytic theory of ‘Abjection’ in her seminal work, “Powers of Horror”. Mosseri—“of Moses”, patrilineal surname—is borrowed from the heretic’s own experience of escape as a larger existential mechanism that serves as one’s prerogative “right to leave.”

II. The pseudonym

The heretic comes up with the pseudonym of G.H. Mosseri, the name serving as a symbolic plateau toppled in Kristevan reversal: “Bahala na,” or to leave it up to the gods, is not only impractical to Mosseri, but also impassionate.

III. The conduit

Moises was the human conduit for the miracles of Yahweh; thus, it is he who divides the sea, bathes the river in blood, and kills the Egyptian first-born through Him. He bears the sin of God’s wrath, unloading the guilt of God from His shoulders, within which he becomes his own abject—his own not-“I”—such that he dispels the God-ridden guilt from his body, the guilt he is forced to bear.

IV. The guilt

Nevertheless, this guilt is his to carry, this not-Moises constellation of agony, for the poverty of his spirit lies not in his capacity (or lack of it) to carry said guilt, it lies in his capability to keep the guilt separate from him, cementing it as outside of him—all the more it pulverizes him, all the more it beseeches him.

V. The roach

Similarly, G.H. encounters the roach in a pristine wardrobe. Overcome with abjection, she saddles herself in disgust. This putrid insect is not me. This putridity is beyond me. She nonetheless eats the insect after crushing it. It becomes part of her that fascinates and dishevels her.

VI. The heretic

G.H. Mosseri, then, is not an innocent monument to Kristeva. The heretic superimposes themselves against the Abject in every composition of art and literature they find themselves creating. Kristevan in such a way wherein their fascination in that which unsettles them becomes the locus of what they create.

VII. The sacrament

As such, they engage in the secular masochism that Kristeva had identified: erotic mortification is a virtue that leads G.H. into a faux paradise of real signifiers. Their art, then, is a foremost ode-like attribution towards that which serves as the one to sanctify them, and destroy them altogether.

I / VII
  • Based in Malabon City
  • Mediums Digital, Traditional, Multimedia
  • Featured in Novice Magazine, Issue #4 · WriteTheWorld Alumni Feature Blog · TV5 Dokumentado
III. — The Portfolio

The Alleyway

what you’ll find in the eskinita between the church and a commercial district: the strewn eyelashes, the 25 centavos, hardened tutong rice, fractured rosaries, temporary portals to salvation as you pee conspicuously on the sidewalk.

Graphic Art

Digital Art

Multimedia

IV. — Creative Writing

Bottles at Sea

confessions to no one. devotion to the pundit’s body adrift on flotsam; cosmogyral, whirling around the universe, beyond God, beyond science—beyond witness.

Taf. IVFlaschenpost — Bottles at Seafig. 1–11

  • No. 01 —

    The Lovers: 124⁰ Sun Opposition Venus

    “wetness is a loan word of mermaid gingiva.”

    Uncork →
  • No. 02 —

    Chinese General Hospital at 14:57 PM

    “diodes render blue the headbulbed mother.”

    Uncork →
  • No. 03 —

    Mutya

    “you are now meat simmered within mouths afraid to swallow.”

    Uncork →
  • No. 04 —

    For Etronie

    “i overripen:
    sandpiper chorus out masts of throat,”

    Uncork →
  • No. 05 —

    Anagolay

    “sampaguita strings link my teeth, together, gurgling mysteries in oil spills.”

    Uncork →
  • No. 06 —

    how many grams of protein are in the tears of my father's shirt?

    “refining the posture of my fingertips, so they look less like my mother’s.”

    Uncork →
  • No. 07 —

    Sinners

    “born again as a Venus, unbecoming.”

    Uncork →
  • No. 08 —

    Bambanti

    “little brown bodies strawmanned into furniture.”

    Uncork →
  • No. 09 —

    April Showers are Small, Diminutive

    “mercy-tongues slippery enough for San Antonio’s shower blessing.”

    Uncork →
  • No. 10 —

    i am a child i am a child i am a child

    “clock hands are proboscis.”

    Uncork →
  • No. 11 —

    god(girl)hood, and the things that help me sleep

    “i want to be buried without your name falling from my lips because it would mean that you were big enough to be a truth i died for.”

    Uncork →

Monsorium Konv.-Lexikon, 1. Aufl.Writing set adriftZum Artikel ›Bottles at Sea‹

You are Here, Spilling Old Oceans for Me.

V. — Contact

Conches

Hold one to your ear. For commissions, use the form below; for anything else, write or message directly.

Facebook
加扎勒 a naraka for the tender.
Instagram
@ghmosseri
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© MMXXVI Monsorium — all bodies reserved