To breach the surfaces of existence, ultramateriality must ever equivocate between its physical and metaphysical dimensions of being. This equivocation exerts the psychic impetus necessary to rupture the superficies of temporality, whereby its subduction induces the upwelling of the smoldering passions stirring ever incessantly within. While that inner polymorphous magma is obfuscated by its contiguous surfaces, insofar as the crust of temporality cannot contain its psychic upthrust, human existence rests not on surface platitudes, but on the tensional tectonics of ultramateriality itself. Consequently, while the tension between the depths and surfaces of existence reverberate from the push/pull of interiority/exteriority, its deeper primordial resonance arises from the antithetical synthesis by which ultramateriality is constituted. Insofar as ultramateriality is the surplus, which overflows unto its material substrate and its toughness is that which suspends existence, it must, by its equivocation, transmute the physical/metaphysical divide into a psychophysical continuum if skirting the boundaries of being is to give meaning unto existence. Since the ability to breach the terrestrial divide is ours alone, those who cherish their humanity must traverse the metaphysical horizon within if the flames of care are to illuminate the abyss of the anaesthetic infinitude. To uncover the wondrous depths thence, layers of amalgamated excesses must be scrupulously scraped away to expose its silent splendor within.

Insofar as recuperating that silent splendor is essential towards our metaphysical awakening, art capable of grasping the flames of mortality will, by its inner radiance, illuminate the cardinal mysteries of the human inscape. Accordingly, while the materiality of art is constituted through the fabrication of surfaces, its metaphysical depth is drawn from the ultramaterial engagement with existence. And whilst illuminating its orphic transfiguration is art’s deep subjectmatter, the objective embodiment of its surface to depth simulacrum is, itself, a substantive representation of the physical/metaphysical duality of the human condition. Since the excavation of ultramateriality must be rendered with such aesthetic sensibility, quarrying the sublimity therein must be drawn with consummate artistry to not strip bare the very intricacies for which psyche seeks redemption. Insofar as the metaphysical invariably overflows into the ultramaterial, peeling its layered guise is the seduction by which its reflexivity rouses our collective unconscious. Furthermore, inasmuch as ultramateriality flows from the metaphysical penetration of the physical, beyond the deep representation of interiority, art must also re-present the physicality of the ultramaterial if its iconicity is to dually reflect the mortal image of eternity.

By exposing the metaphysical cascading through their ultramaterial bodies, the fallen angels have uncovered the ontological duality of human existence. By exposing their ultramaterial vulnerabilities, they not only affirm the body as site for this ontological exchange; their continual affirmation is the pious testament that each of us can realize that same metaphysical redemption. Insofar as scraping through the temporal encrustations is critical towards our spiritual awakening, and inasmuch as the fallen angels have opened-up this oblique entrance unto existence, their vary being is an appeal for each of us to partake in the excavation for our own humanity.