Between these is the ‘lake district’ where supraglacial rivers, lakes, and moulins form annually for a few weeks. These last are vertical channels where surface water has exploited a defect in the vast ice and melted its way to bedrock far below, swallowing rivers and occasionally abruptly draining lakes, even large ones, like a bathtub with the plug pulled. Exactly what happens at the base of these is to this day still somewhat of a mystery; they were one of my primary attractants to this glacial area. It is of importance that these lovely waters are very short lived: for the bulk of the year no liquid water is possible. The ice upon which they are resident is always moving inexorably, even in winter, toward the coast and squirming as it passes over irregularities in the bedrock below. Thus, few of the waters imitate the previous year’s presentation. This by itself has inferential significance. I have been fortunate enough to have been sent four times to Polar regions. When I return from these trips I am predictably stunned by the majesties I have witnessed, so my initial artistic reactions are fairly illustrative since I am very much in their thrall. Over time, often years, I am slowly able to work more interpretively and metaphorically as my reactions mature and deepen. Often, the initial reactions are works on paper; in this case sheet marble called, and the consequent series of carvings is called Bathygelidi. Years later, after much experimentation, the moulins emerged, in the form of illuminated glass set into aluminum masses. On one level, Bathygelidi could have been included in series Rhegmalogia, and the moulins in series Empurologia, but I felt that they would be stronger in a stand-alone section where they could dialogue with each other.