Following Wednesday's storm the weather improved and it turned out hot, if humid. A visit to a neighbour's resulted in lots of cake and coffee, and later on I watched a game of petanque for a while. The storm, though, came back with a vengeance yesterday, and although the afternoon was hot again the forecast for today promised more thunderstorms. The forecast was spot on. I was woken early by thunder and by torrential rain thrashing against the window this morning, and it has kept up all day. Better tomorrow, I expect.
I wasn't going to write about this because I was already feeling a bit low, but G was a friend. His wife came by yesterday to say au revoir. She is going back to Paris for the winter and said she may not come down next year. We talked about him for a while. The great thing is that whenever I think about him I always smile.
I made my return trip to the gallery today. Inevitably the excitement of seeing the work for the first time was not there, but was replaced by the buzz from the potential of being able to take time to digest the works that interested me the most.
I was able to move around (and in) the 3D pieces. Some of the pieces had less impact on me than before, and not, I think, just because I had already seen them. Some, on the other hand, I got more out of than before. I was looking forward to watching a video by Marylène Negro, 'Elding'. Disappointingly, the delicate, misty subtlety of the image was severely marred by the uneven and patchy white of the projection surface.
I didn't think anyone was watching, so I stepped 'through' one of the works (below) by Fred Sandback. It felt strange, as if I should not have been surprised to meet resistance. I was wrong about no-one watching though. A Japanese girl was smiling and nodding enthusiastically, and although I had no idea what she said I realised she wanted to do exactly the same.
I can't add much else to what I wrote before. I was able to watch John Wood and Paul Harrison's 'Notebook' without the distraction of numerous people sticking their heads in the doorway for a pointless 30 seconds or so. There is a link to a short Tate Shots here.
An interesting aside is the noticeable 'decay' of some of the pieces. The change in Laib's 'Pierre du lait' was to be expected, and Cécile Bart's piece had been damaged (perhaps, if I hadn't seen it previously, imperceptibly), but changes to one of the others altered it enough to diminish the concept behind the work significantly. Something we have to live with.
I took the photograph of these clouds yesterday, shortly before sunset. They almost seem to be spelling something out.