Origami

The present still reverberating with past conjugal shocks, a traumatic life temperamentally tasked and torn, David (François Arnaud) discovers he can intermittently travel through time, yet the sought after pivotal moment eludes his troubled psyche, as breakdowns and estrangements enervatingly obscure.

Conceptions clasped concordant.

The drama.

A caring Japanese author (Milton Tanaka as Yamane) of a helpful instructive text, mnemonic tectonics, atemporal literature, periodically comes to his aid, inquisitively providing techniques, tracks, and testaments, aware of calisthenic applications, like a sci-fi avatar, graciously expending.

David's father (Normand D'Amour as Paul) assists with daily living, bearing the future in mind as his son interdimensionally convalesces.

But can he locate that lost definitive truth and act to assert its veracity?

Thereby restoring conscious equilibrium.

And revitalizing soulful decay.

Like psychoanalytic treatises fluctuating within continuums of space-time, Patrick Demers's Origami's self-diagnostic transhistorical warps cerebralize therapeutic cyphers.

The act of creating distinct mature variations of manifold temperate classifications envisioned as a recrudescent conciliator, he sorrowfully deconstructs his mind's disconcerting revelations.

Prognostic perseverance inversely composed through the passage of time, subjective objectives manifest artistic calligraphy.

To patiently meditate upon fact and fiction, like newborn bear cubs curious at play, chasing butterflies while closely following mom, learning secrets while serendipitously strategizing, is to blend innocence and refinement with vinous uncategorized anthropomorphism, distilled like having time to nap, syncopated in spiritual daydream.

Transitioning from one precipice to another.

Chasing, investigating, challenging, shying away.

Clarifying.

Speculating.