Robin Ekiss's meditations on memory and mortality are a canary in the coal mine of imagination. With disembodied dolls, dank Parisian catacombs, the gilded interior of a Faberg egg, and the unfathomable edge of Niagara Falls as the dominion of these poems, reading Ekiss's work is like peering into the perfectly still world of a diorama or daguerreotype: an experience both uncanny and uncompromising.
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