MICROSTORY OF ART

MICROSTORY OF ART
ONLINE JOURNAL FOR ART, CONNOISSEURSHIP AND CULTURAL JOURNALISM

Dedicated to Raqib Shaw

Raqib Shaw, The Garden of Earthly Delights III (2003; picture: jamandyam.blogspot.ch)

(picture: jamandyam.blogspot.ch)

The woman he had loved the most (in vain) had almost drowned.
Did it matter (for him)? – Now? (He had heard about it only accidentally.)
Certainly one does not want people to die, you know.
›I know‹, said the Toucan Man in the picture.
What do you know? And yes, it does matter, anyway.
›To others, you mean‹ (another cheeky spoken aside by the Toucan Man).
No. Yes. He was following the sea turtle with his eyes – the sea turtle in the picture that he was standing in front of – (and how he hated swimming; ever had).
But the sea turtle reminded him of the one sea turtle he once had seen swimming away, when he had been swimming (bathing) at the shores of the Red Sea, at the dawn of the milennium.
Or was it only the sea turtle that the others had told him about it? He actually could’t say. Terrible. Those who liked to swim. To dive.
But he had taken a swim (bath), realizing (when suddenly being decided) that the Egyptian baywatchers got somewhat nervous when following him with their eyes, getting into the water.
As if he had only gotten into the water to prove something (quite right, probably).
But the tiny reef had indeed been worth it. There had been fishes, various colors, corals. And maybe a sea turtle. And at least the others had spoken about having seen one (snorkling is not actual swimming anyway). (›Are’t you a bit out of your area‹, the Toucan Man thought cheekily, but did not dare to say it aloud).

The woman he had loved the most (in vain) had almost drowned. (›Why to paint an aquarium?‹, a voice beside him asked, ›why not painting our aquarium?‹). He could not take his eyes away from the picture.

MICROSTORY OF ART
ONLINE JOURNAL FOR ART, CONNOISSEURSHIP AND CULTURAL JOURNALISM
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