Ra

[ChristopherSea]

Her body lies ochre-and-black dappled,
smokey and flecked, jittery, content;

the opening line is awkward on its own with all of its modification, but you continue modifying all through the second line. Nouns and verbs are the bread and meat, adjectives are the spice. This is a bowl of spice with nothing else!

Her mass of fraying, saliva-slicked tufts
rising and falling in rhythm, in waves;

you wouldn't need both 'in rhythm' and 'in waves' as waves imply rhythm.

Her voicings of pleasure, droning and stayed,
in time with her motions,

once again, overmodification. A note about the word 'of' in poetry - there is a road to poetic hell and it is paved with bricks of - "of". Your modifications outweigh your subjects 3:1

             mechanations of a godly machine;
Her skin still steaming from the heat of the sun:
the mother-god, father-god, her kin, the one
fresh-risen and fruitful, who bears life to all
with embracing and absence, time's twist and fall
that awakens the healthy and taunts the unslept,
unkempt subject, the wretch, unflecked
by the chaos and passion and the warmth of the sun.

*

[I guess this is me trying to be Heaney-esque.]

the sestet is better, partially because you seem to have found your meter (though anapests seem an odd choice, they work), but to get there you use a lot of "ands" and "the's" to the point you sound more like my stuttering nephew, bartholomew heaney than grand master of the noun-and-verb seamus heaney.

‘…you sound more like my stuttering nephew, bartholomew heaney than grand master of the noun-and-verb seamus heaney.’ Milo, you are trouble maker, but hilarious!