top of page


invocation
MEDUSA'S TEARS is a parable about heartbreak
Not as romance.
Not as betrayal alone.
Pain does not disappear when inflicted.
It returns - often transformed, often delayed.
Some wounds are mirrored.
Some become monuments.
the parable
MEDUSA'S TEARS explores heartbreak born from folly.
It examines the moment when harm, once externalized, circles back to its source.
This parable is not an accusation.
It is an observation.
Through restraint and silence, the work asks whether the pain we cause others is ever truly escaped - or simply postponed until it hardens into something unrecognizable.

canonical context
MEDUSA'S TEARS exists within Karmatic Pneuma, a unified cinematic body of work composed of eight parables.
Where other parables interrogate lineage and survival, MEDUSA'S TEARS turns inward - toward emotional responsibility, consequence, and reflection.
It functions as a moral hinge within the larger work.
"PARABLE III OF VIII"

the work
Structured as a cinematic reflection, MEDUSA'S TEARS resists spectacle.
The gaze is a weapon.
Silence becomes indictment.
Beauty becomes deception.
Rather than dramatizing heartbreak, the parable allows it to linger quietly, uncomfortably - until the illusion of control dissolves.
MEDUSA'S TEARS does not punish.
It reveals.
core themes
EMOTIONAL CONSEQUECNE
FOLLY AND SELF-INFLICTED HARM
REFLECTION AND DENIAL
BEAUTY AS DECEPTION
PAIN RETURNED

artifacts
MEDUSA'S TEARS exists as part of the Karmatic Pneuma cinematic film and as an individual canonical parable
Artifacts are released selectively.

cinematic
stills

limited-edition
framed pieces

archival
documentation

status: SEALED
MEDUSA'S TEARS (2024)
CANONICAL STATUS
MEDUSA'S TEARS has been exhibited and screened as part of the Karmatic Pneuma collection and film, including official film festival selections and solo exhibitions across multiple cities.
Status: Sealed
Year: 2024
Canon Pillar: Visual Albums
Body of Work: Karmatic Pneuma
MEDUSA'S TEARS ENDURES
Parable III of VIII
Karmatic Pneuma
bottom of page
