Green has strong emotional correspondence with safety. Green is the most restful color for the human eye; it can improve vision. Green suggests stability and endurance. Green is used to indicate safety when advertising drugs and medical products. Dull, darker green is commonly associated with money, the financial world, banking, and Wall Street. Dark green is associated with, greed, and jealousy. Aqua green is associated with emotional healing and protection.


I was looking over the following images of the protest/vigil outside San Quentin Prison on the night of Stanley ‘Tookie’ Williams’ murder by the state of California.

The verdant tones of green dominate and they reminded me – like some ironic twist of a krypto-knife – of California’s death-chamber itself. San Quentin has since constructed itself a new fan-dangled killing suite … and it needed to. The Golden State had taken to injecting people with poison within its old hexagonal gas chamber.

The site became an insult to the escalating industry of death, out of sync with the newest sterile modes of person-erasure. The heavy air-locked lantern no longer suitable for the clinical 21st century methods of snuff so developed by scientists, physicians and judges.

The pea green pod that transports, transforms and accelerates passage to elsewheres; An echo of an echo-death-chamber..

One switch, one injection, one mistake, one outcome.

Two switches, two injections, two mistakes (original crime vs. retaliatory murder), two outcomes (original verdict vs. appeals all boiled in a single decision-cauldron).

A theatre reenactment. Perfect palette.


Back in San Quentin, the gurney straps itself to itself.


As a ten year old, I remember the same night time visions of green tinted destruction. John Major was in power and war seemed just.

I’ve seen them again recently …

Different century, same annihilation.

People will disintegrate, body parts will fall off, limbs will be poisoned and charred.

Democracy will teleport itself for its own arrogance, implicating a dictatorship and a sorry hybrid shall limp to an uncertain future.

And the toll shall be personal, unsuspected, for the love of the state and its rhetoric.

And the children will be the unhindered beneficiaries of a world not of their own, but the world of their violent predecessors, their decisions, amalgamations, actions and murders.

Kids become sad reminders that nostalgia, film photography and wildlife cinematics were forsaken before they could be rightfully demanded back. A new sterile age sports no death cells, no faces, no conscience, no history.

Immunology becomes the new high stakes industry …

By the way, have you ever noticed that the beat in Boards’ Kid for Today is the clickclack of a slide projector carousel?