"Metals After the Song": A Garabaggio Framed Print

Oil on digital canvas, 2026. Post-Consumer Baroque series.

Four objects remain, and there is nothing else in the frame. A pressed disc of steel. A disc of copper, warm as a coin taken from a pocket. A disc of dark alloy. And a disc of the black powder, compacted until it holds its own shape, its surface still granular, still absorbing everything offered to it. They sit apart from one another on a dark ground under a single lamp set high and to the left, and the shadows they throw are short and certain. This is the tenth station of The Choir of Dead Batteries and the last of them. Nineteen cells that I carried in my coat over nine weeks are now four discs that would sit together in one hand. Caravaggio's *The Calling of Saint Matthew* is a painting in which nothing happens except that light enters a room where men are counting money, and one of them looks up. That is the entire event. Money on the table before, money on the table after. Only the looking up is different. I make no claim that these four objects were redeemed. They were separated, they were weighed, and they will be sold by the kilogram to someone who will never ask what they used to be. But they were looked at first, at length, by a man with no authority to do so, and I maintain that this changes the object even where it changes nothing else. The choir is finished. The metal was always the singing part. *Post cantum, metallum.*

• Premium black frame with white mat and acrylic glazing
• Giclée printed on acid-free, gallery-grade 220 gsm paper
• REACH-certified inks, sustainably sourced woodstock
• Ships worldwide via Printify fulfillment