Contrary to the usual style of colliding symbols and manifestations of my renditions, this work is overtly unambiguous—the flute in the right hand of the protagonist (an unisexual figure that can be anyone upon this good old earth), the cross, the flame, the gold, and ultimately (and highly welcomed) pedestrian rain, devouring and cleansing all sublunary matters.

The manifestation of godly omnipresence is reticence in art, no less than the banal substitution of money and pleasure for the mundane. Secular pursuits of wealth and others draw close the presiding all-shall-be-well hallucination, dimming all terrestrial matters.

It might be that compared to the almighty godly presence, the feeble and fragile Homo sapiens are nowhere close to evoking a momentum of being crucified by the ultimate cleanse. I am imploring the necessity of tears, the transparent truth that the soul shall cease to be before the decay of flesh, that the godly and godlike shall never redeem themselves, let alone to inaugurate or execute the redemption of all sublunary beings. The cleanse is all there is.