In the late 1930s and early 1940s Matta had produced works he called “inscapes,” imaginary landscapes that he imagined as projections of psychological states. The Vertigo of Eros evokes an infinite space that suggests both the depths of the psyche and the vastness of the universe.
I caught this morning morning’s minion, king- dom of daylight’s dauphin, dapple-dawn-drawn Falcon, in his riding Of the rolling level underneath him steady air, and striding High there, how he rung upon the rein of a wimpling wing In his ecstasy! then off, off forth on swing, As a skate’s heel sweeps smooth on a bow-bend: the hurl and gliding Rebuffed the big wind. My heart in hiding Stirred for a bird,—the achieve of, the mastery of the thing!
Brute beauty and valour and act, oh, air, pride, plume, here Buckle! AND the fire that breaks from thee then, a billion Times told lovelier, more dangerous, O my chevalier!
No wonder of it: sheer plod makes plough down sillion Shine, and blue-bleak embers, ah my dear, Fall, gall themselves, and gash gold-vermillion.
Inscapes: In visual arts, usually conveys some notion of representing the artist’s psyche as a kind of interior landscape. The word inscape can therefore be read as a kind of portmanteau, combining interior (or inward) with landscape.