Sandy Watiff Off-Season
Waffle Breakfast Bickering
Trees: the Forrest and the Woods
Facing the Challenge
Travel Portrait 17
Sandy Watiff Off-Season: Part 5
August 10, 2008 [listen]
I. The Overseer
I packed up Eddie's easel, art supplies and oversized drawing
pad while he was at the cottage finding "something
to study." On my way back to the cottage, I was stopped
by an elderly man who had wise in his eyes, who stood his
ground esteemed, using neither a cane, nor a rod, or a stick--though
legged he was, gentle he was with his introduction.
"I am the Overseer."
"You are, are you?"
"Yes, I am."
The Overseer shared with me that his family was considered
ancient in this community during his lifespan (thus far)
and before, longstanding. He emphasized his non-maritime
heritage, stressing his family's academic achievements,
now post-affluent. I observed that the Overseer was fishing,
however, fishing for some information about myself and the
nature of my visit, but I was too distracted by his statured
eyes to even comply with his implied request. His eyes were
not sunken into his skull. His eyes did not protrude from
his cranium. The wrinkles around his eyes that accented
his face were linear squiggles that complimented his 'brows,
slate forehead, slanted nose, and edged lips.
I said nothing of importance.
Placidly, the Overseer provided me with a brief history
of the cottage.
"Where you are staying was never meant to be a cottage.
What this was, was a Sears
Roebuck Company catalog-ordered garage--a prefab,
if you will. This ground, on which you stand, belonged to
my brother. When he died, he divided the property amongst
his children. His daughter, with whom you are renting, decided
to put an addition onto the garage and make the space habitable.
Huh, indeed! I was ecstatic that I was staying in an original
made into a unique duck.
I felt as though I was experiencing a part of art
and architectural Americana--the
renovation and remodeling of space
into place, of dimension into perception. The Overseer
had zoned my attitude, thus conceptualizing the aesthetic
lore for which I sought secretly.
The Overseer informed me that he, his wife and dog spend
the latter part of the afternoon watching the Bay's activities
from the shore. I acknowledged. We bid our "good evenings,"
then he proceeded up the road, I to the cottage where I
parked my ideas, while preparing dinner.
III. Interior Design
After dinner, Eddie watched one of his DVD movies, the
one with racecars. He scanned the scenes, playing and pausing,
looking for a frame that he wanted to replicate on paper.
Meanwhile, I read an essay from the Sandy Watiff catalog.
The essay described the aspects of his life
in relation to his work--in particular, life-work
objects (natural things, vessels, and thresholds)--as
and the metaphoric anthropomorphication of decor: subject
matter made abstract.
Eddie began to draw freezes taken from the DVD player's
screen; I took photographs of the cottage's interior design,
keeping in mind the aforementioned essay problematic.
Replete in resemination, we ate some popcorn, which was
lightly buttered and salted. Exhausted, we brushed our teeth,
and went to bed.