“Art is how we decorate space, and music is how we decorate time.”

I first heard this Jean-Michel Basquiat quote in a rope class from Barkas, in the context of how we play within both space and time in a kink scene. I think about it frequently, especially as I feel more and more passionately about the brutally human impulse to create art.

I have been coming to hypnosis events since 2013, before Charmed existed -- my first event was packed with my own manic energy, held in a dungeon where people could hypnotize me basically at will. No hotel staff, no sneaking back to a private room. I developed a reputation as an aesthetically pleasing subject, often put on display in subtle and overt ways.

I have grown up in this community. Essentially my entire adult life has been spent involved in going to events and cons. I'm 33 now, and as Charmed celebrates its 10th year I've perhaps been unconsciously influenced to reflect on myself aging.

I feel so much older than that 21 year old exhibitionist. I'm more reserved, quieter, more selective, and certainly smarter. I like who I'm becoming, but I do miss parts of who I used to be -- that confidence, that energy.

On Friday evening I looked at the schedule and saw there was going to be a Gallery of Living Art -- it's been a staple at Charmed for a number of years, but I'd never done more than peek inside.

I thought to myself: “Why not try to get in touch with that playful younger self? Why not show everyone who I am nowadays? Why not live out a fantasy?”

Surely I’m not too old. Surely I haven’t grown out of this.

The time comes and I connect with my partner about it. He knows that one of my absolute favorite things is being totally frozen. We decide against anything complicated. No one will touch me or trigger me or anything like that. It’s the most “negotiating” we've maybe ever done, but I still leave all details to him. I tell him: “I was really just thinking this is an opportunity for me to sit blank and still for a long time.”

We walk into the room, and it’s overwhelming. People are setting up intricate exhibits with lots of creative interactions. There is a sheet we need to fill out to describe what our “art” is, which my partner writes on cryptically.

“Dolly can't talk. Duh…”

“Dolly is precious -- don't touch!”

Under “Artist”, where he is meant to put his name, he writes a question mark.

I am so in love with him, watching his mind work on the spot.

We find a place in the loud room and look at each other. We are a fluid force of nature in a bed together, spontaneous and wild. This planning doesn't feel like us. This hypnosis isn't a formality, per se, but it just feels sort of like “We both know how this is going to end on some level -- so how do we spend this time?”

He gingerly removes my name tag and starts murmuring to me.

Being a dolly is such a luxurious treat that the moment he suggests it, I crumble, gripping his shirt with my weak little fingers, moaning too softly to be heard by anyone but him.

He poses me. He fixes my gaze blank and forward. He lets me practice standing and sitting. This kind of rehearsal is unfamiliar for us, and I almost relish doing something that feels a little awkward.

I am a dolly when he leaves me, frozen and posed, but I know it is going to take a couple minutes to settle in. I am a dolly getting comfortable, a dolly with twinges of self-consciousness. After a couple minutes he walks me over to a different chair, one that is highlighted by empty space around it, and I sit, and I know this is truly where I am supposed to be on display.

Finally, total stillness rushes over me like pure bliss and relief.

I sit, and I stare, and I don’t do anything else. My mind is blank, and sometimes all there is inside my head is “I’m a dolly, I’m a dolly,” in my little dolly voice. It is pure, simple bliss.

People begin to come up to me to look at me. I am a good dolly and I am silent and I do not move even my eyes. They patiently read my sign and then observe me. I cannot change my body position to be any more or less appealing to them, I cannot hide nor flaunt myself.

Some people say things to me, little compliments and appreciations, and I can’t really process their words. The little dolly voice in my head screams in pleasure when I’m spoken to and given attention.

I have ADHD, I’m addicted to my phone, I’m a fidgeter. But there is nothing that carries the unique pleasure of being frozen and still. It reminds me of Quaker meetings, of spiritual silence and meditation that makes one feel time itself as though it has a sensory texture.

Rabbi Abraham Joshua Heschel talks about the Jewish sabbath as proof that it is not intuitive for us to sanctify time. But nevertheless as Jews we must learn to do it to make shabbat holy every week. Shabbat is “a cathedral in time,” he says, and I’ve been thinking about how much that applies to my experience of hypnosis. Hypnosis is not a physical object. We may sometimes have props but we cannot touch trance and it leaves no marks. It is time that is the sacred dimension in hypnosis, the time that we set aside (“kadosh” in Hebrew) with another human being.

Heschel says we are slaves to space and material things. And in this moment I feel like I have gotten as close as I can to releasing that. I am not even moving my physical body within the physical world. I am just relishing each passing second of stillness, building my cathedral in time.

Of course, sometimes I think sacred space and objects are very important. After all, I am in a space that is incredibly rare, that only exists very briefly, that I had to travel at length to get to.

And I am an object -- art -- inside of it. I am literally decorating the space, as Basquiat would say.

Am I thinking all of this as I sit there motionless? No, not with any sophistication. I truly feel blank. But I am feeling flashes of this as abstract mental sensations that I will untangle later.

Something else strikes me very quickly that I observe within. When people walk up to look at me, something inside me tenses up. I realize that I am unconsciously preparing myself to talk to them. I have been coming to cons for so long, and especially since beginning to write books I always meet a ton of new people every year who come up to me to talk, which I adore. But right now I am in a space where I literally cannot have a conversation with anyone. I don’t even have my nametag on anymore -- my partner was so clever to remove it.

It is the opposite of vending books, where I sit in a chair and am helpless in the sense that I must engage in conversation with the people who come up to meet me. Now, I literally cannot talk to anyone, and they cannot talk to me, and most people may not even know who I am.

It is a hit of extreme objectification, more real than it has ever felt. I am not sleepingirl -- I am a dolly. “Who” I am doesn’t matter. I am art.

My partner also is not sitting there receiving compliments for me. He is nearby, in eyesight, just watching. But he’s anonymous too. And there is something about this mutual anonymity that makes me feel even prouder about us as a couple. There is no performance of who we are. I don’t know how to describe it, but obviously it feels more authentic than public play usually ever does. Like a little secret we are sharing a corner of.

And he looks ever the artist, sitting back and watching me. I feel very strongly that this little scene isn’t the art -- it’s me. Our relationship is what’s really on display. All the work he’s done over 7 years of brainwashing me, real work on my personality and identity, my wardrobe, every single way I express myself and who I am. The people coming by are seeing his bimbo, his dolly, his [x] -- without necessarily knowing who either of us are.

The rhythm is addicting. My mind babbles my self-given dolly mantra over and over, I luxuriate in the stillness, and I stare. I only can sort of half-see with darkened vision, though my eyes are wide. I love when people notice me sitting there -- their expressions change as they observe me. They step into my metaphorical space, which is eerily silent compared to the revelry of the creative demonstrations that fill the room. They are no longer “being entertained,” and no one can communicate to them what I am doing -- they must engage with me out of their own curiosity.

Sometimes they decide to talk to me. I can’t process most of it, but I remember a few interactions.

Someone says, “What an excellent dolly.”

Someone else notices that I’m wearing a bracelet that says “bimbo,” and says, “Even the details on this one are exquisite.”

Someone else says, “Wow, I don’t think I’ve ever seen sleepingirl play before.”

That last one hits me in the gut with memories of a time now long past: Play in public spaces was universal at cons; I couldn’t move from one place to another without someone dropping me into trance; absolutely everyone knew what I looked like when hypnotized.

Even now as I am on display, I have a mask on, and the people can’t see my gently parted lips.

It is a rush of emotion that is very complex for my simple little dolly head, but it goes away.

For a long while, I just exist as a thing in bliss while the room -- the whole world -- bubbles with activity around me.

Eventually even as I sit frozen and blank, a little timer starts ticking in my head -- I could sit here for much longer, but I don’t want to make him wait for me, and I have other things I want to do tonight.

Reading Heschel has been helping me release some of that odd panic that bubbles up when I awaken from trance -- the feeling that magic is slipping through my fingers, memories are slipping out of my mind, and I can take no memento from it. I sometimes write, draw, or make music to try to capture the things I feel in hypnosis with my partner. I think it is from that impulse to be able to touch and hold hypnosis, to make it a “thing” in space as opposed to something of time.

But I do think there is something else, just a human drive to create art about this transcendent experience that we engage in together. I need to create art to try to communicate the perfect way I don’t move and my eyes go glassy. I need to express my emotions, my desires, my dreams, my love. I am only human, a human blown away by this very human thing we do that we call hypnosis.

Only my partner sees it, and he does see so much into the soul of it for me. But this is exactly what I have wanted -- a chance to publicly communicate the beauty of what he and I do. To make this art by performing it, living it. To engage in a human act of creativity by having my humanity stripped away from me.

I am a bimbo, a dolly, I am art -- and that doesn’t go away when I get up to tell him I am done sitting here. I am his art. I am a manifestation of his creativity in this world, and he has a beautifully creative mind which I love so dearly.

This is serious for me, this is real for me, this is so highly personal and jealously guarded as my own precious identity.

Ten years ago I laid my head on his lap and he transformed my eyes into dolly eyes and told me that someday he would turn my whole body into a dolly body. And as we laid together in a bed after the Gallery on Friday he talked about how I had those dolly eyes again in that room. But to me, it’s not about being a dolly, or even being a bimbo. It’s about creating art together, art with a power imbalance. And fucking respecting that as sacred and exciting.

I don’t have much else to say except extreme heartfelt gratitude to Mazirian for running the Gallery, and everyone who came by to look at me and said nice things to me and joined me in my world for just a little while.

(If you’re curious, I was sitting there for about 30 minutes.)