The seedy underbelly of DS106 is covered with phonies, spouting their virtuosity at every step of the way.  Suckling on the tit of the Reverend, calling on their impotent ingenuity as something to be appreciated…

Tiny albeit noticeable pulses of disgust radiated somewhere in my brain after viewing the base, immoral film that is “Finding Beauty in a Dirty Sink.”  All sense seemed lost, all faith in the delicacies of human disposition abandoned in one brief, terrible second of time.  I felt like I was hurdled back, back into the throes of centuries, nay millennium long gone and standing before the tree of forbidden fruit, watching Adam pleasingly pluck a lush apple.  I couldn’t blame choice, I couldn’t blame the senses or rationality of the human mind.  This was beyond it, this was the world view of a generation that could not be done; the mode of dialogue charred and incinerated by the electric passage of the internet tractor trailer.

Modeled from The Cannibal Holocaust and The Blair Witch Project, Thomas Ella uses an amateurish style frame to the white, middle-class kitchen sink.  A long faucet jetties into the center of view, as if suspended in space above the murky waters below.  Then one vile drop seeps from the verminous, steel loins of the  faucet.  The drama carries forth as the droplet spirals downward, like a black bomb over Dresden, to scorch the world below.  The scene cuts, the viewer left to ponder the fate of the kitchen sink.  Did the water spill, sloshing venomous waters to other cups?  Is the real or staged?  And, why, why did Thomas Ella choose to capture the most deplorable space of the kitchen sink?

Please, o’ youthful child hear no more.  The world is harsh enough.  Go on.  Kick your red dodge ball elsewhere.  I prithee no rusty nails or thorny bushes doth lie in your long path ahead.