"The Second Voice": A Garabaggio Framed Print

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

Two, now. The second arrived eleven days after the first, from the same alley, and I want it recorded that I did not go looking for it. It was simply there, half a metre from where the first had lain, as though the site produced them. This one had gone copper. Rust had climbed the entire wrapper and made it warm, almost devotional, the colour of a reliquary handled by too many hands. I set them together on the board and painted them in the arrangement they chose for themselves: the copper one behind and turned slightly away, the pale one forward with its terminal presented to the viewer like a face. Caravaggio's *Supper at Emmaus* works because one figure has recognised something and the other has not yet. That is what is happening on this board. The forward cell is facing us. The one behind it is still looking at the wall. Two exhausted objects do not make a duet; a duet requires agreement. They make the beginning of a chorus, which is a different and much longer thing. This is the second station of The Choir of Dead Batteries. There would be more. I did not yet know how many.

• 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