objects as yet unseen
Implacable calm of the water. No horizon line. Heat blurs the edges of the air before eight in the morning. Distant objects–hikers on the cliffs, seabirds on the harbour mole–seem too large. Everything like a film, wrapped in cameraman sublime, documentary sublime. Light, silhouettes, warmth like a perfect saturated colour, all at once. South coast as Salton Sea. Wandering dazzled between the net shops and the fish stalls, I read “locally sourced” as “locally soured”; later, have a dream in which I am a painting by Anne Redpath. My whole life has become lodged in a few daisies, some grapes in a bowl. As the dream progresses I’m in more and more paintings. Whole rooms of myself, whole shows, stretch back for years, done out in the chalky greys of degreased paint. All my objects look calm but raw. Everything seems deliberately unfinished, wilfully unseen (or as-yet-unseen). A kind of indoor weathering has taken place on every surface. Every morning the shore is full of toddlers who don’t want to go somewhere. They’re sitting down, they’re kicking their legs, they’re repeating the same couple of words fifteen times in a row. You have to admire their commitment. But eventually even these athletes of the self will find themselves reconciled to the understanding that nothing you want–or don’t want–fits your fantasy of it, leaving you free not to want anything any more.