
Walking is fun, even without music. I miss music – but slowly, other things take its place. Like seeing, observing. Noticing faces and frames which I wouldn’t have paid any attention to otherwise.
A non-descript eatery in Chinatown. Food is hot, tasty, and served quickly. I take a table at the far end of the room, hungry from the long walk from Liverpool Street Station. Pearl tapioca tea, steamed rice, and chicken in black bean sauce. While eating it, I realize I had ordered the exact same meal a long time ago with someone else. Today, I have Craig Thompson for company.
And Britney Spears too. She moans and squeals from the speakers, something like
“…then why do these tears come at night”. The Chinese couple that runs the eatery is arguing over something. He decides its not going anywhere, and pulls a chair aside, and sits down to eat his bowl of noodle-soup. She hears the buzz on the kitchen-chute, and opens it. While hurrying to my table with the steaming hot food and chopsticks, she pauses to size me up.
Young Indian woman, eating alone, staying away from the more exotic items on the menu. After this quick evaluation, she decides I might need some help, and fishes out a fork and knife from her apron, and places it next to me with a sweet smile. I eat the whole meal with chopsticks, nonetheless. I’m clumsy, but I’m learning and I need the practice.
Craig Thompson is wandering in Marrakesh, alone in a sea of people.
Entering the museum, I felt out of place too. I was, by far, the youngest person there. Everybody else seemed wiser (?), older. Silver-grey hair. Sweaters and pearl necklaces. Glasses. Some have aged so gracefully – a unique radiance on their face, the kind that comes only from a life well-lived. Others looked alone, quiet – in those few moments when they let their guard slip, their eyes shone with a moving sadness. There were many couples, arms around each other, lockstep, sometimes with their grand-kids tagging along. Then there were those who had this dull nonchalance on their faces, like they couldn’t understand what the big deal was about these painted versions of the French sea-coast, they would have much rather preferred the real thing, thank you.
Sea and Rain – Variations in Violet and Green. Whistler painted light in this one. Wispy. But why oil, I wonder. A solitary figure, dissolving into sea, rain and foam. Floating and getting gently assimilated into a larger scheme of things over which he has no control. It would feel weightless to be in that picture. Ethereal and featureless. My thoughts turn to M – I know if he were here, we would have both stopped together at this painting for a long time.
A little girl. Pigtails. Pink sweat-shirt and shoes. Wide blue eyes. Notebook and a cartoon pen in her hand. She is so tiny, she reaches only up to my knees. She’s walking in a world inhabited by people who tower over her. But her eyes stop at each painting, and she looks at them, mouth slightly agape, in uncorrupted wonderment.
He’s dabbed viridian green, streaked cobalt blue and dissolved a pinch of ochre into a basic foundation of pale sky blue to portray the sea in
Régates à Sainte-Adresse. I love his sky, and the way the sea contrasts against it. Its sunshine – this Monet painting. I like him painting sunny days. The brighter palette, the sky with its patchwork of blue and white. Those paintings always make me feel strangely contented.
His T-shirt says
“The Liver is Evil. It must be Punished”. His beer belly tells me he’s a man of his word. He’s here with his wife, who clasps his arm. He’s rolled up the gallery pamphlet, and is using it to point at pictures of interest.
Monet’s
“Le Chemin de la Cavee” (Pourville) is a thing of beauty. It’s as simple and as complex as that. I have to sit down for this one, and take it in.
If only I knew how he painted. The colours and the brushstrokes – they are not violent, passionate and intense (the way Van Gogh would have done the same scene) – but they look as though they’ve been painted by the wind. There is a perfect balance here – rich, sensuous colours applied in such a way that they evoke a wispy quality of a light sea breeze. It’s the kind of breeze, I felt, that would steal from behind and embrace you lightly, when you’re standing in a golden yellow paddy field at sunset. But in this picture, its not gold – there are greens, yellows, reds and blues. In that dark green shrub over there, in its depths, are so many colours! The flowers and the grass sway with reds and yellows and browns. And the sea in the background is lavender and blue and everything in between.
An elderly gentleman in front of me is scribbling in his Moleskine notebook. The pages were brimming with his notes, his handwriting struggling to keep up with his thoughts. He turns around and suddenly looks straight at me, and for a second, I am embarrassed to be caught observing him. He smiles, and with a nod of his head, acknowledges our shared interest in Whistler’s
Alone with the Tide. Two people, lost in one canvas. The other’s presence feeling strangely unintrusive.
Then, a huge family comes along, kids and parents and grandparents and prams. He looks at them, smiles politely, and then walks away to another painting.
When walking back, outside in the courtyard, I saw two pretty young girls (sisters maybe?) with long locks of curly hair, light eyes, and skin the colour of biscuits, clapping their hands together. The sound reverberated around the enclosed space, going back and forth, lingering on in ever softening echo. As I walked out onto the street, their laughter of a few minutes back reached me, reflected off the portico. And then, as I moved away, I could hear it no longer – just the humdrum of a normal weekend.