Biofilm as a Mother Tongue

The hair comes ashore. Syllable by syllable. Dark, wet.

It accumulates the way silence does after the door closes.

Black threads against sand—your mother's writing. The letters she never taught you to read.

What the ocean takes, it returns transformed.

The kelp genuflects. All vertebrae, no spine. It prays the way the drowned pray: horizontal, arms spread into tomorrow.

Little mother, the bacteria sing. Little father, answer the algae.

In the space between one grain and another, cathedrals rise. Biofilms like psalms in living ink. Each colony a paragraph in the book of holding on.

The machine stitches what it believes is a map.

But I know these lines. They cross my grandmother's palms. They mark the soles of feet that walked from one country into another.

The needle enters. Exits. Enters.

Like breathing. Like drowning. Like the way we love—piercing the surface to prove we were here.

The barnacles write in calcium. Small mouths frozen mid-sentence.

They grow where hurt pools. Where salt crystallizes into memory.

Each shell: a house for what refuses to leave.

And the hair—yours? Mine?

We all end here. At the edge where land forgets its name.

Sometimes: the ocean is a room where everyone we've lost goes to remove their shoes.

Sometimes: the strand wrapped around the rock is the only letter that arrives.

The stitches want to say here is where the breaking happened.

What they say: here is where we tried.

The thread pulls tight. The image tears anyway.

This is the honesty of repair. It points to the wound while claiming to heal it.

Little ghost in the biofilm. Little ancestor building your bridge one cell at a time.

You who know home is not a place but a process.

Belonging: what happens when the smallest parts of us refuse to let go.

The tide rises.

The hair tangles deeper.

Somewhere, a mother calls a child in for dinner.

Somewhere, the machine keeps stitching an ocean that won't stay still.

Okja Kwon

Okja Kwon (b. 1981) is a Korean-born, transracial adoptee artist

who communicates through intimate illustrative image-making.

In response to one's survivalist attempts to transcend an identity historically rooted in imperialism, global capitalism, and desirability, Kwon draws upon metaphors that take ritualistic form. The enactment of "witnessing" provides a compilation of whispered ideations and fragmented (re)imagined remembrances of in-betweenness, all in an attempt to build an intuitive and otherworldly bridge to transcend blurred relations.

https://www.okjakwon.studio
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Inventory of Water