The 100 Scents. EARTH SHADES AND RED

IMG_8382

The green scent led me to the heated exhalation of the soil, just after the last ice. The earth, where i used to mold my female characters had shades between the fresh meat color and coal black.

The earth is a dark and humid gut populated by colonies of annelids and fluorescent gastropods emanating sweet steams of vanilla and cinnamon, cloves, cumin, baked poppy, saffron and ginger incenses from the Sunday cakes, mixed with the smell of wet brick and the stench of the moist fur… Red was taking shape not through the color of blood but through its vibrations. Blood meant the army of stinging fire ants which would leave sour traces on the skin.

Red was back then, in the earliest fiber of the memory, the overwrought breath of the horses and the irate beat of the orthodox wooden music tools; red would erupt from exhaustion and revulsion; it would emanate in its harrowing shades from the hidden carnage of the newborn cats and from the animal corpses found after attacks of nocturnal predators. The smell of earth and red could be found between the most atrocious stench and the bounty of incenses. It was in the eyes of the dead rats. It was in the madness of the priests. This scent species unifies the ghastly cry to the violent eruption of life.

(© Transl. from French, Luiza Mogosanu, L´intime à l´oeuvre. La peau des 100 odeurs, PAF, 2013)

 

The 100 Scents. TRANSLUCENTS #2

Another category is the “Translucents”: the unseen, meticulously spun, twisted manifold webs that use to cover, to sheath and embrace. The animal fat, the lard, is a basic ingredient in the making of the soap in the village households. The lard would smell like the skin itself. It was, for me, part of the same olfactive family as those of the waxes, the milk, the pollen, the fiber of the flax and hemp, made to thread through a tremendously laborious process and then weaved into precious tissues that would wrap the bodies, cover windows, walls, floors, beds, tables, foods and corpses. The Translucents were the sunflower and pumpkin oils and the wool of the first shearing of lambs.

(© Transl. from French, Luiza Mogosanu, L´intime à l´oeuvre. La peau des 100 odeurs, PAF, 2013)

The 100 Scents

TRANSLUCENTS

Another category is the “Translucents”: the unseen, meticulously spun, twisted manifold webs that use to cover, to sheath and embrace. The animal fat, the lard, is a basic ingredient in the making of the soap in the village households. The lard would smell like the skin itself. It was, for me, part of the same olfactive family as those of the waxes, the milk, the pollen, the fiber of the flax and hemp, made to thread through a tremendously laborious process and then weaved into precious tissues that would wrap the bodies, cover windows, walls, floors, beds, tables, foods and corpses. The Translucents were the sunflower and pumpkin oils and the wool of the first shearing of lambs.

(© Transl. from French, Luiza Mogosanu, L´intime à l´oeuvre. La peau des 100 odeurs, PAF, 2013)

 

The 100 Scents. GREEN

Green was not only a visual perception. In order to reclaim the sensation of green, my body would turn into a sort of a primal membrane that would function through inhaling and exhaling the sap. This elemental integument would feed itself off the smell of freshly cut grass and off the sweet-peppery taste of raspberry beetles that would nest inside the fruits. Green were the vapours of the trimmed celery leaves in the morning, the whiff of mint, the touch of nettles, the smell of chive and savory plucked during the rain; it was the salted lovage, the thyme, the tarragon and the peas in the hot drinks… It was the greasy juice of the green walnuts husks on our hands. It was the acrid dry basil that covered the shelves of the wardrobes at the countryside, used as insect repelling and which perfume would envelope the Sunday clothes in a stiff and spicy breeze. Together, these green fluids would cut into the skin´s layers, to refill them with a rain of heavy incenses, acid, stinging and bitter.

(© Transl. from French, Luiza Mogosanu, L´intime à l´oeuvre. La peau des 100 odeurs, PAF, 2013)