Seaweed

Cresswell Beach

between their toes seaweed mushes
it comes out of nowhere
squeals and screams
wet, cold skin meets cold, wet skin,
pods pop, bones crack, the sea rolls in

DuppyMigrant

Road Openers for (E), 2019, Alberta Whittle

There’s some deep grooves

laid down through the moves,

forced or voluntary,

in the migrant’s heart

a migrant’s heart will always be a split – colonialism running through the blood like dis-ease

stitched together, makeshift, with tartan, kente, plastic and twine, scattered cowrie shells divine.

a ghost of its former self,

a migrant’s heart will always beat

out of place and time.

An escape to the balcony with the pigeons was freedom

The West Indian Front Room, 1970s by Michael McMilan

Sunday afternoons, after fried curry and rice and West Indian dumplings,

we’d sit on a brushed flannel blanket covering the velvet settee. Legs too short to touch the multicoloured carpet beneath.

We’d sit straight, only our eyes moving, wandering over the bright yellow textured wallpaper, tracing patterns and exits until we were dizzy.

He sat in one armchair and her in the other. Armrests protected with white hugging linens. Dollies on head rest, sideboards, side tables. Everywhere.

Behind him hanging against the white washed wall was a black velvet scroll depicting the islands of Trinidad and Tobago. Home. A silence presence.

If he was in a good mood then there’d be port and a cigar and the gramophone sounding out with soul. Other times, black and white TV shows like Survival and the history of athletics, we had to watch. Still and silent.

We were his children brought up to do as we were told. To not ask why and call our elders uncle or Tantie . Any deviation from such a course of action would result in rage and beats.

My imagination became the place of expressing my range of emotions. My imagination became the place of power and choice. Freedom.

Pigeons. Standing there.

From a marionette flat

with a pebbledashed balcony

grey feathered birds, standing

there, there on the railings.

Old Memories/ New Strategy

Old Boat/ New Money by Lubaina Himid

After Lubaina Himid

Worn timber, cowrie shells,
currency and shoreline,
you sound like waves
and the creaking hull of death.

I try to imagine, she said, what it would be like to be taken from all that I knew, moving in a stinking wooden vessel over something I knew not what to call but it swallows our bodies whole. See sea, sea see. Propped against a white wall to suggest a wave in motion, the angle of pleasure, as I witness it, from the other side, here and now, I rumble with displaced memories. Memories that traumatise but hold onto me like seeds buried within my hair, bearing into my flesh.

I couldn’t resist

The Serpentine, Kensington Gardens, London, 01 April, 2022, 17.42

I’ve really enjoyed sharing my love of water over this last month. And this isn’t the end of The Healing Properties of the Seas 2022 project.

Expect more 10 second videos to appear for the rest of the year and beyond.

These clips of seas will be posted on the blog first and then find their way to the portfolio page by and by.

A river takes it own sweet time to reach the sea. Slow and steady it goes. I’ll take my lead from the waters.