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.

Storm Coming

Storm Coming by Paula Dunn

After Paula Dunn

based on the weather
handing over a landscape like a veil,

a limited palette
to keep things simple

but storm coming on, clouds layered,
winds textured

and dark low lying land brushmarked
and glazed for atmosphere

the yellows, oranges and browns brood
within depths of time and place

searching for a flick of white
to rest and breathe

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.

Colour is Mine

Van Gogh, 1959 by Althea McNish

After Althea McNish

Sunflowers

big and bold

inspired by Van Gogh’s

brandished

across a

yellow and white

striped field

black lines

outline floppy leaves

and dozing closed heads

bright colour carried to

this grey isle

not a luxury but a necessity

for survival

for blooming

another time

uprooted

sunflowers

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.