Manor of Being

After wandering the floors of a seemingly abandoned mansion, a young girl discovers a hall festooned with a rich tapestry of actors and articles depicting the elemental dimensions of her life: birth, childhood, play, love, imagination, spirituality, mirth, fear demise, and death. Greeting her like some entombed spectre is the towering mistress of the house who—without eyes of her own—detects and beckons her guest to the balustrade at the top of the stairs so that she might witness the competing horizons of her burgeoning life. While her countenance is as disarming as it is disturbing, the estate’s sole-custodian comes across as a largely sympathetic figure. There is a sense of loneliness about her, perhaps borne of some centuries-old regret and/or loss that has since bound her to this place. It is a destiny complemented by her apparent fate of personifying the dire consequence of one’s inability to confront and reconcile their past difficulties as a matter of realizing a more promising future free of heartache and limitation–the forlorn cautionary tale of blind hesitation, self-denied dreams, and lost desires.