Investigating the life of things across space and time
The old fart in Room 17 is becoming a problem. He does it even when his wife’s on the terrace, sweating, counting her rosaries. Clack-clack. Hail Mary, full of grace, the Lord is with thee. Ah, Mamma, what would you say if you could see me now? Four stringy children and a fat pig of a husband who belches triumphantly after every meal and snores all night. Clack-clack-clack.
It’s usually as I’m making the beds and she’s looking out to sea. Hospital corners. Pontus’s school project is to learn of other cultures so we fold towels into swans like his teacher says the Japanese do. Except in Room 17 I just do triangles – the swans take too long.
I smell his oiliness behind me and freeze. I am a sparrow, still and trembling. His saggy chicken arms claw at my apron, his toothless mouth waggles its wormy tongue at me. Clack. Blessed are thou among women and blessed is the fruit of thy womb Jesus.
I dart away, holding the sheets like a shield. His eyes are full of water, tears spilling over the loose red rims, filling the wrinkles in his cheeks, dripping off his chin onto the floor tiles. Salt water, inside and out. Surrounding us. Swimming in it. Clack. Holy Mary Mother of God, pray for us sinners now and at the hour of our death. Drowning.
Amen.
Gaga was the first word out of her mouth but unlike the other firsts in her life she had no memory of it. It was as if it had never happened.
Sometimes she wished she could gaga again, especially when she felt that lump in her throat, fat as a hardboiled egg swallowed by a snake.
An exhibition of printmaking, collage and drawing about barren landscapes, distance and time.
In the end, it was neither a flash nor a tunnel. The kiss had lived through many breaths and many stories, from the eager tongues of fairytale princes to the dry rubbery gums of the dying in hospital beds. Once there had even been a woman who changed into a pillar of salt.
This conversation between Sarah Gillett and the writer Amy Lay-Pettifer digs deeper into the artist’s relationship with Paolo Uccello’s painting The Hunt in the Forest (1470) and her wider art practice.