Archive for the ‘drawing’ Category

Volunteers…

July 13, 2008

An enterprising squirrel planted a hazelnut in the foundation plantings. He thought to be clever and bury it deep down near the roots of some flourishing St. John’s Wart. His little squirrel brain, with its extensive information of sites of buried food for retrieval in the off-season, winter, must have been ovehelmingly full of detail; he forgot about the nut he buried there.

Early in the spring, I spied a couple of spindly hazel branches making elegant arcs over the leafing St. John’s Wort bed. Aha, a volunteer! I did not have the heart to yank it out and foolish me thought to let it stay, to see just how vigorous the hazel’s growth was to be by summer. So, now, in July, the few branches have grown into a young tree; its canopy swishes with the wind against the bug screen of our computer, music room. When one raises eyes from the computer monitor, a subtle green scrim filters out harsh sunlight. It pulses and shifts with the breezes, a lacy verdant curtain, far more desirable than any self-conscious leafy patterned fabric curtain indoors.

I shall have to foray out with shovel and spade, and rudely dislodge it from the foundation bed. The hazel, I now find out, has a vigorous growth habit. After some more development, its roots will disturb the house’s foundation, and make possible leaks to crack the cement. Such power in a natural vegetative force, to be able to encroach on natural and man-made hard materials. Still, I plan to embrace the rest of the summer season and grant a respite for this volunteer. In the Fall, when its leaves have released their hold on the branches, will be the time to pull it out. Perhaps, even, try to plant it in some other area of our little suburban plot. It would be ideal  for suburban plots to have some fruit and nut trees. Mature hazels produce a good crop of nuts, which are also delicious.

Out behind Rumpole’s woodworking addition, another squirrel has planted an acorn from one of the oak trees two blocks away. As far as I have been able to discern, the parent tree is one of two for many blocks around. Our little acorn seedling had such a bonsai appearance in its early establishment that I didn’t have the heart to dig it up. It has character; a persistent raddled beauty – awkward, its immature branches contorting from the West Winds prevalent on that side of our place. It is now as tall as me-a regular character with its gesturing thin main arms rising from a trunk slowly increasing in girth.

It makes me wonder just how many seasons must pass before the appearance of its fruiting, the acorns which hang in small clusters. It seems fortuitous that I have become interested in preparing my own drawing ink. The acorns will relase oak gall, which makes ink of a lovely character. The ink may not have many centuries of permanence, as all natural dyes it will fade when exposed to light for years. There is something so satisfying in the thought of preparing my own materials for drawing.

An acquaintance has a stand of black walnut trees. She is selling her property this fall, and she has many small black walnut seedlings which have volunteered to grow where they had fallen. Black walnut liquor makes a wonderful drawing ink. I shall ask to buy one of her volunteers and transplant it on the West side of out house; also ask her for the seed-hulls from her Black Walnut harvest this Fall. Soaking the seed coverings results in a beautiful ink. Like an old witch toiling over a vat, stirring, stirring, I can make drawing ink to give to artist friends and keep some for my own use. Then the newly transplanted volunteer will grow over the years and provide both ink and edible walnuts. Perhaps, not right away, but soon in the future.

The saga continues…

July 5, 2008

The fifth operation on my left eye, which was a mere three weeks ago, is now merely another installment in the saga of attempts to restore some of my failing vision. The eye is starting to resemble a desiccated bloodshot raisin. Its surface is pocked with craters somewhat like the surface of the moon. I now sport a permanent squint, much like Popeye, not a good look for a woman, but heck, it gives me character of sorts.

The last operation, #4, was to remove the oil bubble that had been inserted in my eye to help seat the retina which was becoming detached by scar tissue removed during the previous one. It is quite something to be able to see the pipette inserted into the eye’s globe and watch the viscuous oil  stretch toward the pipette’s tip and gradually diminish in size. I am glad to report that my complaints to the surgeon about the background elevator-music of Soft Rock in the OR had resulted in blessed unmusical silence which helped me concentrate on ‘observing’ as best I could the procedure. This operation was a slam dunk, or so it seemed. A really quick and painless recovery, only made irritating by my having to lie on my left side all the time for ten days.

Last Thursday, Rumpole drove us for a follow-up appointment with the surgeon. Even the rigmarole in the overcrowded office seemed less onerous this time. Enter Dr. Seemore’s sidekick, an efficient Chinese gentleman with a cultured British Accent. Dr. Seemore, it seems, was on a scant week’s holiday, which given his insane working schedule he truly deserves. This nice surgeon peered this way and that into my eye, shone lights into it and announced that some of the oil had been left in from the last operation and had to come out, during yet another operation. I had an unbearable urge to ask him if, perhaps, removing my eye for good and replacing it with a lovely shiny and smooth glass one might not be a better option. With gracious restraint but gritted teeth, I asked him how many more of this cutting and hacking I still had to anticipate and endure.

“I can’t say,…. maybe a couple more,” he dead-panned, “it all depends what happens during the next operation.”

Ookayy!!! An human eye is not so big an organ that it can take numerous invasions of scalpels and resewings. By now, my eye looks like a badly designed smocking, by a deranged seamstress, one who practises free-form smocking. I am rapidly losing patience with the whole scenario.

On the drive home, Rumpole commiserated with me about the whole deal. I told him how cheesed off and impatient I was feeling, and also that I’d have to suck it up and just get over it.

I came home, poured myself a big glass of red wine, and sat with my journal, writing out my feelings and ideas about what next? and how to adjust to the situation. So I have decided to get back to drawing and painting and and not be daunted by having to learn new ways and means to do these things. So onward to an adventure of an old dog learning new tricks. To Life!

Studio visit with Anarchist/Artist…

June 12, 2008

Flora and I had been planning this trip up the coast for a couple of weeks. We intended to visit Anarchist/Artist, take him for lunch, see his local exhibition and then visit his studio. I was pumped, and not only because for a shut-in, like me, a trip like this is a special gift, but also because I so much enjoy spending time with Anarchist/Artist and see him pull out of storage one remarkable work after another. Prissy german Tourist, who is also friends with him, and I, both consider Anarchist/Artist one of of B. C.’s underappreciated artistic treasures. He is absolutely committed to his work and to living within certain stringent principles which he espouses. A man to admire, in the complete sense of admiration of coherent belief and practice as exemplars in living. He does good, does no harm, and lives gently with great respect for the gifts life bestows upon him.

Taking a ferry to get to his community is such a production. Because Flora is such a fine and intelligent companion, time travelling didn’t seem so onerous. En route, we discussed various points of politics and practice of the publicly funded gallery system. We admired the views from the ferry’s lounge, even though the day was one of lowering skies, greens, and misty greys. We watched a small motor boat struggle to cross the bow of the ferry up ahead, quite nervous and anticipating a small marine disaster. Some operators of small craft have little awareness of the speed of larger vessels. Our coast has a history of many accidents during such attempts to not lay by and let a larger boat have right of way. We were quite relieved to note the smaller boat scoot out of danger, by a hair, it seemed.

Once debarked, we made good time on the Coast road, and soon turned off the highway onto the dirt track where Anarchist/Artist’s cabin and studio nestled among a profusion of Rhododendrons, past bloom, and tall evergreens. An eight foot cairn marks the parking area. A bonsai-ed horse-chestnut tree in a planter stands near the front steps; its leaves perfect and tender green. Sweet woodruff carpetsthe foundations on either sides of the staircase. We peeked through the glass door to see Anarchist/Artist upright near his vomiting skeleton sculpture, happily sipping from a ceramic mug with a temmoku glaze. We tapped on the window. He came and let us in; greeted us with warm hugs and kisses on the cheek.

I invariably feel good whenever in his company. He is courtly, charming, beautifully spoken with an educated British accent. In his mid-sixties, he is aging as only men who have led a healthful and considered life age – gracefully and well. He lives a simple and aesthetic life surrounded by his work, by books, music, and growing things which he propagates for his survival and consumption. On his easel was a recent still-life study of a clutch of beets and their greens. This glowed in jewel-like splendour, made with reverence, vigour and beautiful marks. When asked if he got his vegetable garden in ample time this spring, he bemoaned that he had been reluctant to set out his cucumber seedlings because nights, even in June, have been so cold this year. He is fearful he will not get in his usual crop. He grows an organic cash crop, and exchanges for meats and other supplies. We wondered what kind of crop he might get this year. The weather has been so unusually somber and lacking in hot sunny days.

Flora sked him wher he migh want to go for lunch. we decided to blow the budget and go to a restaurant where there was a good chef. However, after we drove there we found it closed. We went off to a waterfront pub and sat outside under propane heaters ( a most unusual necessity in late spring at this latitude). We ate, drank wine with our pub fare and discussed his long career. Flora demonstrated by her demeanor that she much enjoyed his company. I listened and posed some questions and small observations. After all, our intention in visiting with Anarchist/Artist was to have the two of them meet and discuss further exhibition possibilities of A/A’s works.

After lunch we drove to the local Municpal Gallery, where A/A’s plein air paintings of local industrial landscapes were exhibited. I should hesitate to label them as “plein air” because they are qualitatively much different with what is associated with plein air paintings. They are really direct studies of industrial constructions in the landscape, and as such differ from the flabby, inchoate landscapes that are lately characterized as plein air paintings. A/A has an acute manner of distilling industrial forms, and way of notating the characteristic land, water and sky patterns of our region. As a collection, this exhibition should be bought by a local museum, as examples of a painter’s recording of the economic activities of a specific region. But, by God, there were several I would have loved to have for myself! We stayed in the gallery for a long time. I entertained myself by getting nose-to-painting looks at the marks he had made the paintings of, and studying his truly idiosyncratic use of colour. What a treat!

We drove back to his studio afterward and stayed for a couple of hours more. He pulled out from storage his more controversial and political work, some drawings and studies. We looked at his collection of seed-pods, bones, roots, a remarkable desiccated skunk, stones and dried insects. Much of his graphic work is inhabited by the presence of these objects as part of the symbolic vocabulary he uses. He has obviously developed his visual language over many past decades of consideration and study, and in his work offers permutations and combinations of them much as a poet does of words and metaphors. The energy and control with which he makes his marks is masterful; his skill developed by years of trial and practice. he is a remarkable colourist. While his political imagery is disturbing, it has the conviction of thought and belief, long considered, as underpinning. One may or may not like his paintings, his prints, but they seep into the brain, into memory, under the skin and won’t let go. Flora looked and looked, commented, asked questions. I asked to buy a book of his prints and one of his more anarchist print images for myself. But there is one remarkable painting i am going to save my shekels for, now. I know Rumpole wont necessarily like it, but usually he assents to my decision to acquire art that means something to me.

Flora and i realized after a time that we were almost going to mis the ferry home. So we said our goodbyes to and appreciation of the time Anarchist/Artist had given us. On the trip home we discussed how Flora might be able to raise funds to have an exhibition of Anarchist/Artist’s work at our Municipal gallery. We brainstormed over coffee and muffins and filled paper napkins with copious notes of our fundraising ideas. We agreed it had been a day spent in the best possible way.

Today I am exhausted, but happy at having had such a wonderful experience and opportunity. I just hope Anarchist/Artist doesn’t feel like we have wasted his time. And I am hoping that a local exhibition comes about from the meeting between him and Flora.

Maybe a resolution…

April 12, 2008

Upon the advice of numerous friends, several of whom are health-care professional, I have fired Dr. Blindside after an unsuccessful effort to have him explain to me in detail about further eye operations he was planning for me last November. The new retinal surgeon I have been seeing since December has been candid and to the point as to how much he might be able to do for me to restore some vision to my left eye and what needed to be done. His manner with me is good. He has not treated me like some fluffy little old lady who could be satisfied with blandishments and false-reassurances. He answers question I have had, not with the off-hand, ‘don’t you worry, nice little woman, we’ll fix you right up’ or surprised reaction to very specificqueries about treatment and prognosis by Dr. Blindside, but with straight-forward, detailed and patient answers which have given me much more confidence to undergo the knife, yet again.

So, the operation is to happen on April 25 – soon, now. There have been numerous tests up to now, and good follow-up with information about those tests. The date for the operation was set for a specific time, not on an on-call basis depending on cancellations, as was the custom with Dr. Blindside. We can actually plan our lives and doings based on a firm operation date. Rumpole has booked off the day to see me through the operation.

It has been exactly a year since the first of the eye operations. Now, finally, there may be some sort of resolution to the question of how much vision may be improved for me. Even the slightest improvement will be a gift. Right now, my sight is so poor that even watching television, movies or a video is a drag. I have to sit about 3 feet from the screen. I have become house-bound as I feel vulnerable in the outside world where unpredictability reigns. The Spring sights, which previously never failed to thrill me, lack in specificity of detail which increases visual pleasure. I miss drawing and painting, wandering around and looking about. And am cautiously anticipating a small promise of even slight return of my previous freedoms, occupations and pleasures.

Pitt River, looking West…

March 31, 2008

img_0087.jpgimg_0086.jpgimg_0085.jpg Lila and I gathered our outdoor painting stuff at 8am on a warm April day, piled them into her Ford Focus and drove to the end of Harris Road in Pitt Meadows. The road ended at the dike and we parked right next door to the barn in which Dry Sherry kept her beautiful Percheron/Andalusian, Paris. He was out in his paddock cruising around, munching hay, a splendid dappled, distressed grey -white monolith in motion. Because I was busy gawking at him I nearly ended walking my easel into the ditch. Lila meanwhile, being much better organized and less of a wool-gatherer, made an efficient job of carting her easel, large canvas, and carrying bag up onto the dike. I dragged my easel and set it up. Had to go back to the car to get my drawing board and paper pad as well as my bag with my drawing stuff. Once set up near each other we sussed out the place; looked about us to select an area to work with and from.

I had earlier in the morning determined that  in no way was I going to get precious or self-conscious about my materials or the imagery which would absorb my attention. I was in a rebellious mood. No museum quality paper, archival drawing medium, or picture-worthy, picturesque subject would distract me from the pure pleasure of looking, seeing, making marks, moving freely and playing.

So, the paper was plain old 18 by 24 newsprint. The tools, oil pastels. The challenge for me today with the subject was to take the least picturesque aspect of the landscape in front of me and to find the rhythm and unity of forms in front of me. It didn’t have to be an earth-shattering or mind-blowing image. So there was the spring growth of sedges near the river’s edge; shrubbery, low-lying near the shore, denser and taller, more vigorous further from the river, and in the distance a massing of vegetation, then the sky. The log-booms snugged along the river provided a warm contrast against the sky-reflecting blue of the water.

I windmilled my arms to get the blood flowing, did some knee bends and lunges and then selected the pastels colours and began the drawing dance. And kept drawing until the study reached the above stage. Lila may as well have been on the moon, for aside from hearing her brush scratching and swishing on her canvas somewhere to my right, her presence didn’t infringe on my concentration.

We spent the whole morning, working in silence, absorbed as the sun rose to the zenith and we began to tire. Lila worked on an ambitious 22 by 30 inch oil of the mountains and river and had a strong start with which to work later in her studio. I made the three oil pastel studies and felt satisfied with having met the goal I set for myself.

As my vision has failed me now, to the point that I no longer can make such distinctions visually as in these three-year-ago drawings, I like having these rather flimsy pieces of paper up on the walls of my studio. As I come and go from the house the drawings are an aide memoire. Now when walking along the dike this is not how I see what is there. It has changed so profoundly that patterns have lost their crispness, shapes have lost their clarity and tones and colours have become of paramount importance. Now, I realize that already, three years ago my vision was starting to change from the almost painful acuteness and clarity I have been gifted with throughout my first fifty years of life. These drawings represent a change, though not necessarily for the worse. A change toward some different ways of seeing, maybe a different way of being.

The keys to the Kingdom…

March 10, 2008

He was a sage man, Mr. S.. I trusted him to be honest with me, especially since he had been the adjudicator of my entrance portfolio at my interview seeking admission to the Art School. At that time he hadn’t pulled his punches. He had asked me, then, how my parents viewed my desire to attend art school. Since it was in my best interest to be candid with him, if he would be a reliable supportive person for my poorly-formed goals as art student, I had admitted to him that my parents were full of dispair as to what was going to become of me, if I persisted in following my desire to learn intensively about “Art”.

Mr. S. encouraged me to wholly immerse myself in the art school experience. He did say that at the green age of 17 years, and relatively untested, I would come to have conflicting feelings about what all might happen to me during these formative early years. “Come and talk to me, whenever you have difficulties or have reactions which confuse you. My door is always open.”

During those four years, whenever I had doubts and questions, I’d tap on his office door and promise to bring him a coffee if he would spare me a few minutes of his time. He was always most generous and patient. He was my “eminence grise”. My parents had no inkling that there was such a trusted advisor whose opinion I welcomed and valued and weighted far more than their own. Come to think of it, he was indeed a grey, silvery presence. He was small and wiry, pale in complexion with tarnished pewter hair and beard. He seemed to be everywhere; like escaped beads of spilled mercury he could be glimpsed doing his rounds in the art school hallways and studios.

By the end of third year at school, I had paid my tuition and supply costs with a series of low-paying jobs – usherette, cleaning-woman, waitress. Still living at my parental home, I began agonizing over how, in the future after graduation I would maintain my art practice, move out into my own digs and sustain a life beyond mere existence. My parents exhorted me to give up all ideas of pursuing a life-long involvement with art. They considered my four years of art school as an early, but doomed, love affair which held out little hope for a lifetime of sustaining joy. Ildiko had gone on to university, to follow the family plan for her to become a doctor. Surely, now, the penny would drop for me, and I’d realize the fruitlessness of a life in the arts and would bend to the family plan for me to become a pharmacist. At every available opportunity, my parents would attempt to engage me in conversation about going to the U to take a degree in science. They completely and conveniently forgot those angst-ridden nights of my struggles with chemistry and math in high school and my sudden blossoming with joy whenever taken up with studies in the arts and humanities.

In the quiet working hours in the print-making studio, while engaged in preparing plates, applying grounds, working the plates in the acid baths and inking, wiping and pulling prints, I mulled over possibilities  facing me in the future. I realized that making art takes materials, equipment, space and working at low-paying jobs would not afford me the means to do more than just keep a roof of sorts over my head and a few squares to sustain me. Advice from an experienced and trusted mentor was in order. I turned to Mr. S.

One morning, I nipped over to the coffe shop across the street from the art school, ordered two mugs of coffee, slices of cheese and carrots and carried them on a bakelite tray back to the school offices. “Morning goodies, for Mr. S.” I told Mrs Trevelyan, his secretary, breezing by her to tap on his door. Luckily he was peckish and glad for refreshments. He waved me into his office.

“I need your help.” I said, and launched into an agonizing and detailed account of my ruminations about my uncertain future.

He listened and ate his carrot and cheese slices; nodded between sips of the now tepid coffee. He swiveled on his oak teacher’s chair and gazed out the window; turned back and beaded me with his perceptive pale blue eyes. “You are the child of the upper Middle Class; you have learned to expect certain comforts from life. Your experience with people is mostly from that class – that is where you operate most comfortably. You need to attain the keys to that Kingdom, so you can enter it at will. It is only through further education that you will achieve the freedom to do this.” He said this without a trace of pressure. He was simply asking me to think along with him and go down that particular road of thinking. “How can you turn the knowledge and information you have gained so far to your advantage?” he asked.

“I could go and seek a position as an artist’s printer in a workshop,” I conjectured. “Although, there is no possibility of this here as there are no working ateliers. I’d have to research this. Maybe further afield. But maybe I’d not be too content labouring over other printmaker’s images. But of course, this might provide me access to a studio with presses.”

“Have you considered any other possibilities?” he asked.

“I have flirted with the idea of teaching. Am not too sure I have the patience and whatever else it takes to teach.”

“There is a way you can find out if you like teaching, or have an inclination in that direction. You can sign up as a teacher with the School Board and try your hand at teaching an adult night school course in Drawing. You’ll find out very quickly if you have the aptitude for teaching.”

He sent me on my way. As his suggestion made great sense to me, I followed up and engaged to teach a night school course at one of the recreation centres. Eight sessions. Not a huge, long-term committment, so even if I was fearful of being pathetic at this job, people’s  limited exposure to my green inept methods would not harm them in the long term.

A couple of months later, after a wonderful experience with teaching and thorough enjoyment of the persons with whom I shared a limited number of hours working, I bounced into Mr. S’s office and announced my pleasure with the outcome. “It sure is hard work but, man, the expressions of pleasure in accomplishment from people in the class makes the process worthwhile. And working to help someone overcome their frustrations with a process or to unearth an untapped potential is so invigorating.”

“You know, if you have had such an good experience, maybe you might consider taking teacher training at UBC. If you do so, your parents will probably be amenable, and you will have chance to obtain one of the keys to the Kingdom. Think about it, at least.”

I went off and thought about it all. Continued to work in the studio and made the work for my graduation show. My mind was at ease, I had decided on a sense of future direction – to take my degree in teaching and train as an art teacher. Went through the application process at the university, and only when formally accepted did I make the announcement of my intentions to my parents.

“We expected you to follow up in a more worthy discipline,” argued Apu. “To be a teacher is not good enough career for someone from our family.”

“Apu. I need to work at something which provides me with personal satisfaction as well as a way to make some kind of living. I am not at all interested in studying in the sciences. Besides which, having an education degree, will provide me with a little key to the Kingdom.”

“What on earth are you babbling on about?” complained Apu. “What’s this Kingdom ?”

Anyu at 77…

February 24, 2008

Anyu at 77

 This is a drawing I made of Anyu one late spring day when she was 77 years old. I had just turned the corner from the main road into our driveway when I spotted her sitting on the front porch steps, basking in the sun with closed eyes, her large canvas sack beside her. Seemingly lost in reverie, she hadn’t seemed to notice my truck pull up.

I parked the truck at the back porch, skirted around the hedges surrounding the house, and walked up to her, unannounced. Her hearing couldn’t have been very acute, or maybe the nap of the lawn had quieted down my footsteps, for she had her eyes closed as I approached and then stood to look at her in silence. No wonder she was unaware of my presence; she was after all 77 years old and her senses had begun to falter. The look of unvarnished pleasure in sitting under the sun suffused her face. This love of the sun was and had been a constant in her life and had not altered in her advanced years.

 I sat down in the grass near her and waited for her to notice my presence. The sun warmed my back and heated up the backpack with my calculus stuff inside. I had just driven back twenty miles from doing the final exam in my university calculus course. It felt luxurious to sit soaking the heat up and not have to calculate how and where to fit in studying to a busy day of wifely doings.

Anyu opened her eyes and gazed about in a daze. Her glance passed over me and returned in surprise.

“Where have you been?” she asked. “When did you come back? I rang and rang the doorbell and you didn’t answer.” The querulous tone in her voice projected her displeasure.

“I was at SFU writing my final exam. I wasn’t expecting you today.”

Anyu stretched her arms and popped upright on the step. “Well, I was bored. It was such a nice day, a little bus-ride was in order. I figured I might as well come out here to see you.” Then she added, “What’s for lunch?”

“I have some left-over lentil soup from yesterday.” I said, getting up off the grass and hauling my back-pack toward the stairs. “You can have that, and I’ll also make you a sandwich. Egg salad, I think.”

“I have to watch my cholestrol. Does the lentil soup have much fat in it?” Anyu asked grabbing her sack. “And, I can’t eat eggs – too high in cholestrol. Make it a tuna sandwich.”

“Come in then. I’ll see what I can rustle up for you.”

We entered the house and dropped our bags on the coffee-table. While Anyu hunted around inside her sack I went to the kitchen to prepare her food. She followed me and sat at the kitchen table watching me hop about, making the preparations.

I worked quetly, without talking. Reheated the soup, opened and drained a can of tuna, chopped onions and pickles, buttered bread and assembled the sandwich. I mused about Anyu’s penchant for flitting about the countryside by bus in all kinds of weather and without letting anyone know about her eventual destinations. Often, she groused about arriving at some far-flung friend’s place, unexpected, and finding herself not welcome. This day she had travelled, by bus, through 4 adjacent municipalities to reach our place. This had to have taken her at least two and a half hours. Of course, because she had not let me in on her plans to visit, she was ill-informed about my doings and whereabouts. So, if she was irritated with me, I figured that a product of her bad planning.

“Let me see that tuna can.” she demanded. “I need to read the label and see the counts for cholestrol. If it is too high, I will not eat that sandwich.”

I handed her the can. She fished out her reading glasses and perused the label at length. I placed a bowl of soup in front of her and went off to plug in the kettle for tea.

“Where did you learn to make soup like this?” She said between spoonsful of the lentil soup.

“Well, not from you, Anyu,” I chortled. “you never let me touch anything in your kitchen. But I love reading recipes and anything about cooking.” Then I added,” it is the meal one does not cook for oneself that is delicious. Enjoy”

Anyu ate with gusto and polished off two bowls of soup and a whole sandwich. For a woman who prided herself on eating like a sparrow, this day’s demonstration of feasting indicated an uncharacteristic  vulture-like appetite.

I made up a pot of tea for us and took the fixings into the living-room. “Come sit in the big green chair and put up your feet. While you rest and digest, I’ll do a drawing of you.” I placed her tea-cup on the table by the chair for her. “If you want you can close your eyes while I am drawing.”

“I don’t want to look dead. Pictures of people with their eyes closed makes them look dead.” She settled herself, took a sip of tea, then patted her hair. She marshalled her energies, drew herself up stiffly and presented a dignified self for my study.

I went into instant drawing mode and drew like mad for half an hour. Anyu was silent throughout, and her facial expression registered an array of emotions, but not ones which showed any pleasure at all. The primary affect was pride overlaying dissatisfaction. Or so it seems to me that my drawing emphasized.

Whe the drawing was at a point I felt comfortable leaving off, I nudged her out of a funk by turning the drawing to face her. She studied it at length, took sips of her tea and finally commented wistfully. “What ever happened to my pretty face? I used to be so beautiful.”

“You still are beautiful, Anyu.” I reassured her. “Just different in beauty, more complex and tempered by experience.”

“Well, you can take me home now.” she said. ” I paid for my lunch by sitting for you. Let’s get going.” She finished off the last of her tea, grabbed her satchel and stood up, ready to leave.

I put aside my drawing board and charcoals, grabbed my purse and keys and led her out the back door to the truck.

On the hour-long drive to her apartment in Burnaby, she fell asleep. Once we arrived, I walked her to her door, used her keys to let her in. She yawned and reclined onto her couch. “I am so tired,” she said. “Please cover me with the afghan and let yourself out.”

I covered her, kissed her cheek and left. Driving back home in rush-hour traffic, I thought about how my day unexpectedly turned out. Anyu arriving out of the blue was surprising, but provided a break from my obsession with thoughts about calculus. This is the drawing of Anyu at 77. She may no longer drop in on me as she used to, but I have this drawing in memory of our time together.