I was invited to create a poetic response to the work of Rhian Solomon. It was an attractive proposition. I knew nothing of her work. I knew there was a good chance she would know nothing of mine. I know I like writing about things that I do not know very much about and that in experiencing and writing about these things I will learn. I accept the offer. I will arrive at the London Printworks Trust's Departure: Further Explorations in Print exhibition. I will experience the installation as any other viewer might. I know there will be something to do with: the surgical; the cosmetic; and clothing. I know there will be some reference to the skin. Then, I allow my pen to write what it sees and thinks. I know that at some point I will have to cut what I write. Editing is like surgery. Some see the original as a perfect creation, sometimes it is. Other times a stitch, tuck or a nick improves the body of writing. There are times when after editing, the finished product looks very different from the original, unrecognizable to some. It is always pleasing when people cannot see the seams, read as though this was how it was always supposed to be. I am interested to know what of my original response I will feel forced to cut away. Will there be threads still attached to the original art work, or will all of these have been severed.