WHAT l KNOW AND MY NEW NOVEL…

Featured by adamhalevi777, posted in Adam Green, Aksum, Ark of the Covenant, Commercial Fiction, Knights Templar, Literary Fiction, Murder, Mystery, Thriller, Toledo / Transito

“I loved it! This is a great story with a wonderful concept and excellent background.” Readers’ Favorite 

BookCover5x8_BW_420

As they continued slowly down the centre of the aisle Omri resumed his photography taking pictures of each of the six apses, of the ceiling, of the floor and the seating and then the stairs leading up to the transept and the choir.They passed behind the raised altar and stared up at the cupola before arriving at the two marble slabs denoting the tombs of Franco and de Rivera, about ten yards apart.‘So where exactly is our object?’ asked Omri in a lowered voice.‘You’re standing on it now’ Alex said looking at the slab beneath Omri’s feet. ‘You’re right on top of it.’

 

The Ark Mosaic Continue reading “WHAT l KNOW AND MY NEW NOVEL…” →

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NO SAD HILL, SADLY

by adamhalevi777, posted in Enrico Moricone, Iconic Movie Scenes, Santo Domingo de Silos, Sergio Leone, Spaghetti Westerns, Spain, The Good, The Bad and the Ugly, travel, Uncategorized

WHAT WE DID NoT SEE AT SANTO DOMINGO DE SILOS

Normally, my travel themed posts concentrate on things we’ve done and seen. However, while I was preparing this short piece on our two stays in Santo Domingo de Silos I discovered that what is arguably its most interesting feature – and certainly it’s most famous tourist attraction – is something I never knew was there!

Briefly, Santo Domingo de Silos is a small town (more of a large village in actual fact) near the ancient royal city of Burgos in the north of Spain. Until 1968 it was most-known for its ancient Benedictine monastery (which closed its doors in 1835) and for possibly being within the estates of one Rodrigo de Vivar – otherwise known as Charlton Heston…I mean El Cid!

All this changed however in 1968 when the local cemetery, known as Sad Hill (Cementerio de Sad Hill in Spanish, apparently?) was used as the location for the final scene of the movie, The Good, The Bad and the Ugly. The combination of Sergio Leone’s super-terse direction; Enrico Morricone’s slow-build-tension music; the three actors involved (Eastwood, Wallach and Van Cleef); and the surreal cemetery itself created one of the most memorable – not to mention imitated and parodied scenes in the history of cinema.

Until this morning, I had always assumed that the scene was filmed somewhere in the Almeria region, like the vast majority of Leone’s “Spaghetti Western” location shots. I’d also assumed, given its unusual configuration, that the cemetery was an outdoor set created for the film. Never did it occur to me that it was an actual place, and one that I’d been a mere five minute walk from on two occasions.

Unfortunately, my past obliviousness means that the pictures illustrating this post, of the picturesque town and its other environs, do not include any of Sad Hill Cemetery. Fortunately though, we plan to pass through the area again in the near future, and although our main reason for doing so had been to sample the delicious local roast lamb, we now have Sad Hill firmly on the agenda.

UNEXPECTED TERPSICHORE…

by adamhalevi777, posted in Abstract Expressionism, Adam and Dido, Chile, Chilean Folk Dance, La Cueca, travel, Valparaiso

…and how two ice cream ladies ended up being PORTRAYED on the wall of the chilean embassy in london…

During our 1991 visit to Chile we took a day-trip from Santiago to Valparaiso, to have a look at the National Congress building, but mainly to try and get a feel for one of the great ports of the Americas. In the event, the building was nothing to write home about – an unresolved confusion of brutalist classicism – and the port area was more plain sleaze than the Hemingway sleaze I’d been hoping for. Sadly, we lacked the time to explore more of what was once described as “the Jewel of the Pacific”.

Although blurry, this photo inspired not only the oil painting below, but later an entire series of my most abstract attempts at capturing human movement…

However, as often happens when travelling, memorable moments occur when least expected, and from surprising sources. In this case for example, it occurred buying ice creams in a gelateira by the bus station, when my wife Dido and our companion Lynne got into conversation with the two ladies running the shop, about Chile’s national folk dance; the Cueca.

This spontaneous display perfectly captured a trait of understated assuredness that we often encountered in Chile – a trait for which the Cueca is the perfect expression…

How or why what happened next, I can’t quite recall, as the two women, in the sweetest and most obliging of gestures suddenly broke into song and started performing the dance. Fortunately I had my camera to hand and was able to get a visual – if slightly unfocused – record of the impromptu outbreak of traditional Terpsichore. Happenstance often resulted in my camera being my sketchbook, and this turned out to be a prime example as I found the fuzzy photos more than adequate reference for a later work back in my studio.

…a trait I endeavoured to capture in this,* and at least two more versions of the painting, La Cueca. The version here was included in an exhibition I had the following year at the Embassy of Chile in London, and which was subsequently purchased for the embassy. I often wondered what the two ladies would have thought if they knew?

* This was one of the first times I used black ground on a canvas (I’d often used the technique in commercial work), and I found it a dramatic contrast to the broad, bright impasto gestures knifed on top. The painting was about five-foot (about 152 cm) square.

MODEL GUESTS

by adamhalevi777, posted in dosas, Uncategorized

and the perils of amateur photography for commercial purposes…

We spent November of 2003 in the Tamil Nadu city of Coimbatore, India’s 16th city and the home of the “wet-grinder” – a kind of food processor for making dosa batters among other things… Our visit had little to do with dosas (although we did enjoy them as a regular lunch snack) and was primarily concerned with Dido supervising the setting up a clinic of her own design, for children with autism – the first of its kind in that region of India.

Composition wasn’t one of the manager’s strong points…

It was an exciting challenge, but also an exhausting one so after two-weeks work the chance for a few days break at the nearby “hill station” town of Ootacamund – affectionately known as Ooty by most people – was welcome and timely.

…Composition, and lighting too, not his thing…

During the time of the British Raj, dozens of hilltop towns in India became popular escapes, especially for the administrative classes, away from the heat and bustle of the cities. Over the years several of these towns developed into luxurious resorts known as hill stations, with perhaps the two best known in India being Shimla and Ooty.

Love the parasol pole bisecting Dido’s shoulder…

Before our visit, the only thing I knew about Ooty was that it was where the game of snooker was invented in the 19th century, by British army officers bored with playing billiards. That it was also a much used location backdrop for the Bollywood Film Industry, and the site of India’s finest boarding schools, where the country’s elite send their children, was all new information.

And the poor waiter serving us plastic food…great acting though!

We ended up staying at the Holiday Inn, which despite its IHG associations felt like an authentic Indian hotel, with a particularly good kitchen, turning out excellent Tamil and Kerala cuisine. It also had a terrific little bar overlooking the lush Nilgiri hillsides, where we were introduced to the local version of the Polly’s Folly cocktail, (comprising, Vodka, soda-water and very spicy green chillies!)

Yup! Plastic kebabs on the grill…

It must have been about our third or fourth evening at the hotel, sipping Polly’s Follies probably, when we were approached by the hotel manager, who asked us if we would be happy to to model for the new online hotel brochure he was preparing. He wanted pictures of a “nice European couple” enjoying the cuisine of the hotel and he thought we “were just the ticket!”

I think the drinks were real – or at least they were actual liquid…

We agreed, and the photos presented here are the slightly surreal fruits of the manager’s own sincere but amateur camera work, plastic food and all. Sadly, I don’t think these pictures of the “nice Europeans” did much to help his booking figures as the Holiday Inn morphed into the Gem Park a few years later. As for us, we did rather well from our half-an-hour being served plastic delicacies, for, to show us his gratitude, the manager gave us each a gold IHG loyalty card loaded with thousands of priority points. The following year we used our booty from Ooty for a free stay at the Intercontinental Hotel in Singapore. A restful and rewarding experience all round…

At least you can make out the chef, even though Dido is in near-total darkness. The moral being; it’s always best to hire a professional photographer, even when using top models !

VARIATIONS ON THEMES

by adamhalevi777, posted in Adam and Dido, Alcazar Garden, Art, Brahms - Variations on Theme of Haydn, Cezanne - Mont Sainte-Victoire, Dido Green nee Nicholson, Gardens of Spain, gouache, Leslie West - Mountain, Manet - Waterlilies, Oil on Canvas, Palette Knife Painting, Poster Art, Seville, Seville Alcazar, Uncategorized

obsession or INTERPRETATION?

Generally, one associates the concept of theme and variations with music. From Classical to Heavy Rock (e.g. Brahms’ wonderful takes on that tune of Haydn’s or more recently Leslie West’s fabulous live improvised versions of his own Swan Theme on the album Flowers of Evil) and all idioms in between and beyond, most composers have enjoyed playing around with a basically good tune (their own or other people’s) and taking it to new places.

This is the original photo of Dido in that doorway somewhere in the Alcazar gardens in Seville. This was our first trip abroad, soon after we met, and we could not have picked a more romantic city (including Paris!!)

However, this is hardly unique to musical composition and if anything, an exercise exploited far more by visual artists, and most famously by both the Impressionists (e.g. Monet’s Waterlilies) and then the post impressionists (e.g. Cezanne and Mont Sainte-Victoire).

This was my first take on the photo, in oils, using a palette knife…

The greatest distinction between the musical and painterly approaches is that in the former the variations are normally presented together within a single work, whereas in the latter they typically appear as a series of individual pictures.

My favourite of the four versions here (there were several more in other media) – a roughly painted gouache

As a regular practitioner of the latter painterly approach in my past life, I often mused whether or not I was merely obsessed – struggling for an unreachable perfection – or rather practising the artistic imperative of interpretation.

1989, was during the height of my poster phase – hence this version

In the end, I came to conclusion that it was a mixture of the two and that in fact, the secret of all good art, and good science too for that matter, is an obsessive love of a particular subject and the interpretive skills to channel that love into something coherent and meaningful. The four pictures shown here present my first ever paintings of Dido, before we were married, standing in a doorway in the gardens of the Alcazar in Seville: The object of my love, obsessively interpreted…

SHATTERED CRAB SHELLS – and dreams…

by adamhalevi777, posted in Chesapeake Bay, Cinematic food scenes, Ian Fleming, James Bond, Len Deighton, Literary Food Scenes, soft-shell crab, The Ipcress File, Tinned champignons

For some reason, the scenes I remember most vividly from books and films usually involve food and / or drink. The movie example which immediately springs to mind is The Ipcress File, which for me basically comprised just three scenes (and John Barry’s hugely evocative theme music of course): The famous coffee making opening title; the “champignons” exchange in the supermarket and finally; the omelette preparation scene with the girl. The rest of the film and its tortured plot line remains mostly visual white noise.

Perhaps the most famous cup of coffee ever made…(and that superb music!)

The author of the original book, Len Deighton was a gourmet who, like many good thriller writers, enjoyed building scenes around food and drink, seeing them as useful tools for creating mood and atmosphere. Deighton knew Ian Fleming who had an equal penchant for including food and drink in his James Bond novels. But whereas Deighton was a stickler for gastronomic and oenological “correctness”, Fleming could be more mischievous; his unorthodox Vespa martini – “shaken not stirred” et al – being the classic case in point.

Harry Palmer (Michael Caine) and the tin of champignons – sadly no video available.

Talking of Fleming, and all the many culinary delights enjoyed by his super-spy hero; the one which always stuck in my mind from the first moment I came upon it in the novel Live and Let Die, was soft shell crab with sauce tartar served up to him at the Regis Hotel in New York City. For some reason, the idea of this particular dish stimulated my mental taste buds more than most and I longed for the chance to try it one day, and naturally, Stateside.



(Courtesy of Jesper Sahner Pedersen)

Aspiration and reality rarely meet exactly as preconceived, and my first encounter with soft shell crab in America missed the mark in several details. For instance: for the Regis Hotel, NYC, read a spit and sawdust crab shack on Chesapeake Bay and; for tartar sauce, read an acrid powdered spice seasoning. However, I doubt that I would have been any more enthused by the crab itself, whatever the accompaniment, for soft shell crab turned out to be a fiddly, messy seafood with a sparse and disappointing meat. My long-held fantasy of replicating James Bond’s tucking into succulent, sweet crab-meat was instantly shattered together with the shells that littered our table.

This was actually the table next to ours (hence the lack of drained beer glasses), but I thought it created a still life that encapsulated our experience perfectly.

Nevertheless, that lazy, messy lunch on the Chesapeake shore remains a magical memory in its own right and my disillusionment with the crab was short-lived. A couple of long cold beers soon washed away the nasty taste of the industrial spice mix and the setting was as stunning as it was serene and remarkably photogenic, even the debris from the unfinished meal.

EASY MONEY

by adamhalevi777, posted in Uncategorized

THE dream commission WHICH went like a dream…

Checking back on posts dealing with my experiences as a commercial artist they nearly all describe dealings with dreadful and unscrupulous characters. They comprise a rogues gallery of capricious and lazy agents; self-adoring ad men and women; inarticulate, jargon-laden briefs; slow-paying and non-paying clients and, worst of all; copyright and ideas thieves.

However, there were some good and honourable people out there too, and small wonder that it was they who got the best results out of me. Significantly, ALL the latter worked in book publishing as art-directors and had a grounding in art, while ALL the former worked in advertising and publicity-related companies with little if any understanding of art processes.

I first crossed paths with George Sharp, the art-director at Pan Books in 1987* when he hired me to do the cover for The Fruit Palace (by Charles Nicholl). It was at the outset of my career as a professional illustrator and the process went so smoothly, from brief to payment, it lulled me into a false sense of security about my future in commercial art.

Sadly, as I was to find out during the course of my very next commission for the UK’s then-top advertising agency everything about working for George and Pan was atypical – from George’s clear and concise briefing to Pan’s prompt payment .

Especially during my time with artists’ agents, as a commercial artist I was exposed to a higher proportion of jobs from ad agencies than book publishers (something I endeavoured to rectify once a freelance), so when my agent called me early in the Spring of 1989 with the news that George Sharp wanted me for another job I was naturally delighted.

My excitement increased however, when I met up with George in Pan’s West End offices and he told me the nature of the commission – to illustrate the book cover for the UK edition of an American best-selling novel. The fact that the author was E. L.. Doctorow and the novel was Billy Bathgate (his take on the New York City gangster, Dutch Schultz) was virtual fantasy land for me. It was exactly the kind of illustration job I had dreamed of doing when I left fine art for commercial art. The £1000 fee was simply the icing on the cake.

Then, unbelievably, the job went even more smoothly than the Fruit Palace. George talked to me for no more than ten minutes as he must have sensed my innate feel for the brief, which I began working on the moment I arrived back at my house in West Hampstead. After about half-an-hour I was already faxing a sketch of my idea through to George, who immediately phoned me with a enthusiastic thumbs-up. A mere twenty minutes later I was waiting for my finished gouache painting to dry.

I was back in George’s office less than two hours after I had left it earlier that morning, and he was as thrilled with my image as I was. In fact, it remains the only illustration job I have ever done which did not require even the slightest of tweaks.

Within a month I had the pleasure and pride of seeing Billy Bathgate, plus my cover in the window of every book store I passed and my image on posters advertising the book throughout the Tube. Within six weeks (super fast relatively) I also received a cheque from Pan for £2500, far more than I had expected. Then my agent explained that I had earned an extra £1000 for the poster rights, plus another £500 syndication fee from a Danish company who wanted to turn my gangster image into some sort of comic strip (I never did find out what they eventually created…).

Although Billy Bathgate did not enjoy the same success in the UK which it had in the States, and that the movie of the novel two years later was a total flop (despite the best efforts of Dustin Hoffman and Bruce Willis), I was more than happy to console myself with the knowledge that it had seen me earn the quickest, easiest fee of my career. I think that even Dutch Schultz would have been impressed!

* Many of you may be familiar with George’s own book cover artwork…* https://www.tikit.net/Later%20PANs/George%20Sharp.htm

HELSINKI’S MODERNIST “FIN(n)ISH”

by adamhalevi777, posted in Uncategorized

THREE ARCHITECTURAL ART déco and modernist GEMS IN FINLAND’S CAPITAL CITY…

One of the ironies of preparing many of my travel-related posts is that the process of the travel itself often leaves me little time to devote to writing my pieces for these pages. Right now for example we are in Jönköping having returned from a week in Finland, and preparing for a flight this evening to London, to then catch a plane on Friday for Malaga. And that’s nothing compared to what we have coming up over the next two months (many trees have been and will be planted!).

In other words, the next several posts will return to being more picture based and less wordy (a good thing many might feel) and fortunately, our recent stay in Helsinki provided me with some excellent visual material.

Parliament House or Eduskuntatalo (Neo-Classicist / Modernist) – Johan Sigrid Siren – 1926

In this post I wanted to show off some of the Finish capital’s superb examples of early 20th century architecture, which were something of a surprise, to me at least. While I had a preconception of elegant 19th century waterfront facades, spectacular cake-icing churches blended with hard-edged, glistening glass and steel temples of contemporary Nordic minimalism, for some reason I had arrived ignorant of Helsinki’s handful of Déco and Modernist jewels.

Central Train Station (Art Déco ) – Eliel Saarinen  – 1919
The station’s interior matches the exterior, and reminded me of Grand Central in New York. Thus, perhaps appropriately it provides one of the more spectacular settings for a Burger King that I have come across, and certainly enhanced the enjoyment of my Whopper!

My being so uninformed is especially damning when one discovers that the Finish parliament house ( Eduskuntatalo in the native idiom) is itself as bold a statement of Neo-Classical lines as one is likely to see anywhere this side of the Atlantic Ocean. And while that building might prove a tad brutal for some (not for me though as I’m a sucker for “power architecture” of all eras and styles), the two other examples I highlight here should prove charming enough for most tastes…

Currently, the Virgin Oil Company Building
(All additional information regarding the Architect, the building’s original purpose and its date are welcome…)
Sadly, I have no idea who designed this exquisite building which these days is the home of the Virgin Oil Company and their restaurant. Any additional information welcome…

THREE DAYS IN DUBLIN (or mental ramblings from a bar stool) – Day 3

by adamhalevi777, posted in Catholicism, Dublin, Food Symbolism, Ireland, Irishmen and Irishwomen, Modern Ireland, National dishes, travel, Uncategorized

SOUP AND SANDWICHES

By the final day of his visit to Dublin Simon had become aware of the lunchtime omnipresence of “soup and sandwiches” on offer throughout the city.

Soup; Hot, thick, cream-of-whatever, mostly from cans, served in ubiquitous, small, deep bowls made of chunky catering porcelain, like large handle-less coffee mugs. And sandwiches; sliced white slices (as often as not), separated by processed cheese squares and a little salty butter (as often as not). This was of particular interest, bearing in mind the ever-growing profusion of exotic eating establishments in the city, including everything from Mexican cantinas and sushi bars to Michelin approved temples of “modern Irish” cuisine. And not to mention the overflowing platters of traditional meat, veg’ and spuds available at every pub and bar. Yet, in spite of this, by far the most popular lunchtime fayre was soup and sandwiches.

            So it was, on this third day when Simon opted for a bowl of soup, only to be asked by the barman if he would “be having a sandwich to go with it” that he finally realised that this austere combination of glutinous liquid and chalky dough was in fact, a national dish, on a par with Dublin Coddle, Irish Stew and Guinness and oysters.

            Like some latter-day sacrament for the wayward Irish. A subliminal jog to their collective guilt for their drifting inexorably away from their Mother Church. Amidst all the wealth and opulence of modern Dublin, lurking behind stacks of Texas ribs and Thai prawns was the frugal bowl and the modest plate. The blood and flesh of Christ at large – an omnipresent reprimand to sophisticates and a daily rebuke to trendies.

            However, it was all for nought, as the process of drift had started at the very same moment of the Church’s inception on Irish soil, since when it had begun its epic yet ultimately doomed battle. To be sure, Saint Patrick’s anchor had sunk deep into the ancient fibre of the land, but this had merely delayed the drift and increased the pain as its hooks grappled hopelessly against the constant inexorable shift of the sands.

            There could be little doubt thought Simon. He could see it on the pale, wind-swept faces of the young Irish girls incongruously bearing Gucci handbags. He could see it too in the ruddy cheeks of young Irishmen projecting awkwardly from their Dior suits. He could sense the awakening phoenix behind the sad and fiery eyes of a people for whom the Cross had formerly represented the only ladder from which to ascend from the bog of despair – but who now, with a tenacity borne from centuries of interminable struggle and hardship were reclaiming their pre-Christian birth-right of Celtic gold.

            As he sat at the bar that fresh sunny afternoon, Simon had this thought; That the day might not be so far off for Irish men and women, when soup would be simply soup, and bread would be bread, and by which time nobody would want to eat it anyway – and Ireland would at last be replete and content.

Adam Green, Dublin, 2004

THREE DAYS IN DUBLIN (or mental ramblings from a bar stool) – Day 2

by adamhalevi777, posted in Archaeology, Celtic artefacts, Dublin, Ireland, Irishmen and Irishwomen, Modern Ireland, National Museum of Ireland, Paganism, The Catholic Church

past present

(NATIONAL MUSEUM OF IRELAND)

His head was spinning with a myriad of impressions, smells, textures and emotions.

            Simon had just finished a gentle amble through the museum and he had been aware throughout of the sensation of being screamed at by the inanimate objects on display. Walking past the perspex cabinets, crammed too full with gold, faded bronze and rotted wood; it was as if the spirits of the fashioners of these ancient artefacts were imprisoned together with their creations, within the humidity-controlled, cubed confines. The disingenuous information labels with their bland, “safe” explanations of these sexy reminders of Ireland’s colourful prehistory, appeared as anaemic, awkward interlopers – like royal visitors at a soccer match.

            Simon continued in apparent calm meditation, yet swooning internally beneath the claustrophobic pressure of “things”. Thousands of things, silently protesting – proclaiming their lost histories and absorbed destinies.

            More than any museum he had ever visited, the National Museum of Ireland epitomised the inherent schizophrenic quality of such institutions. But, whereas places like the Louvre, the British Museum and the Met, by reason of their vastness achieve a dilution of the unavoidable coarseness in juxtaposition of exhibits, Dublin’s national house of treasure was box-like by comparison. Boxes within bigger plastic boxes, all within a greater box of stone. A sarcophagus writ large. And thus, Simon’s sensation of walking through a huge coffin among smaller coffins and his subsequent feeling of suppressed panic.

            After having made good his escape out into Merrion Square he reflected on this Irish snapshot of itself; prehistory, Celtic, Christian, Viking, British, Independence and – Ancient Egypt.

            As he made his way briskly along damp streets, he fancied that for a brief moment he had grasped in this incoherent arrangement the mystery of Ireland. A past whose pagan sexuality is wilfully ignored, obscured by its dazzling horde of fabulous gold. And a present whose intellectualism, violence and misery form the lifeblood of the modern state. In the middle stands the Cross – a stern and conditional bridge linking Ireland’s ancient, gilded and rural mysticism with its modern legacy of blood and books. And above all of this hover Ra and Amun in their sombre recess, as if to remind the present-day Irishman and Irishwoman of their pagan souls.

            He thought that in this museum was the eternal, painful and glorious contradiction that is Ireland, laid out and entombed in restless stasis.

THREE DAYS IN DUBLIN (or mental ramblings from a bar stool) – Day 1

by adamhalevi777, posted in Art, Dublin, Ireland, Jack B. Yeats, National Gallery of Ireland, Uncategorized

Art and Fish
(National gallery of Ireland)

Simon entered the gallery together with no fewer than three large groups of primary school girls. Giggling, squealing, pushing; their teachers straining to maintain order. One group wore tartan skirts, another wore tracksuits of royal blue and the last were in grey cardigans and slacks. As they entered the vestibule all together there was a moment when the three groups intermingled in seeming chaos, but then separated like so many distinct shoals of fish.

            Thus, they swam the morning long, throughout the galleries and halls, occasionally hovering before paintings deemed worthy of consideration by their smiling, earnest teachers.

           He remembered this unchanged ritual from the days of his own youth. A ritual, like so many school customs, with the noble intention of stimulating curiosity and enthusiasm in the hearts and minds of the young, yet in reality, sure to have quite the opposite effect. The bored expressions on the children’s faces were a constant and uncomfortable reminder to Simon of his own half-hearted presence in the gallery; the presence of a professional artist on vacation in a great city with too much time to kill and no excuse not to visit its national galleries and museums.

           Then it happened:

           Simon found that he had drifted into the neighbouring Yeats Exhibition, and in spite of himself he was instantly hooked by its presentation of the evolution of Jack B. Yeats’ genius and his work. Traversing along the limped, fluid surfaces as they gradually, naturally evolved from grave lucidity to pulsating abstraction, he felt for a moment that his life had begun again. The graphic exposition of the artistic momentum and imminence of Yeats’ painterly development reminded him of the sublime possibilities of art.

            One picture in particular seemed to radiate this quality. It was of a window, somewhere in Italy, thickly applied paint, like butter, with a half-inch palette knife. Beyond the open shutters, a warm, summer light, primrose and white.

            Standing before it, Simon smiled for the first time that day, virtually squinting at the muted brightness. The daubed light itself seemed to laugh gently, echoing his mood, and then, as he stepped back from the painting, tartan fishes once more engulfed him. A happy, excited shoal now, equally rejuvenated by the peculiar power of these truly great paintings.

            Perhaps, in the future, one or two of those little fish would return to this particular ocean by choice? After all, he had.