…The seemingly arbitrary cropping of figures by the picture’s edge, the unexpected shapes created by overlapping forms, the asymmetrical and centrifugal patterning, the juxtaposition of busy and empty masses–these qualities constitute a visual definition of what is meant, in large part, by the phrase ‘photographic seeing’.”
…the scent of mothballs signals the opening of a small steamboat trunk entrusted with long-forgotten memorabilia. Carefully placed upon a layer of women’s 1930 era clothing are three stacks of yellow ribbon-tied envelopes. Within each are hand-written letters reminiscent of second grade penmanship inquiring, “Dear Mother, how are you? Fine I hope.” On the left side is a stationery box filled with certificates of marriage, birth, baptism, and death intermingled with a child’s brilliantly colored drawings.
Beneath the box is a small silk sachet holding a solitary diamond engagement ring and an ivory locket. At the bottom of the trunk, children’s books and wooden blocks with carved letters surround a miniature wooden rocking chair and a one-button eyed velvety-patched teddy bear. I become distracted from the remaining contents as black and white photograph images softly held within the folds of a woman’s garnet silk dress glide in the air and scatter on the floor.
The photographic images are a visual memoir of a young family where trust once allowed two young sisters to roam free throughout a field of tall, yellowed grass. “How many days,” my questioning mind wonders, “how many days were left before the decline of my father’s health shifted the lights of a colorful present into the gray-shaded time of waiting?” Within this stillness of waiting, memory tells of a young child seeking solace through repetitive rocking behaviors and of a father’s fragile heart enduring a turbulent wait for a donated aorta.
I hear compassion speak to my heart and I begin to feel how my father intuitively knew of my inner turmoil and of the tranquil stillness within rhythmic repetition. His gift of a rocking chair tells me some fifty years after his death of the multiple emotional and physical sufferings within his suffering, the interconnectedness of the suffering within the family, and of his wish to ease our suffering.
As the fabric of the dress glides between my fingertips, the shadow of grief that holds the memories of my son emerges from a compartment hidden within the trunk. An old fear awakens as the image of grief’s blackened shadow looms over me with its death-filled abyss of intermingled condemnation, uncertainty, and emptiness. I feel the void that will consume me if I were to release the eternal care of my son to its embrace. I come to know that I hold no trust that within death is compassionate loving-kindness. Awareness arises to tell me that as I run from grief with the anguish of powerlessness to protect the heart of my soul, like an addict running from her addiction, grief becomes even more insidious. In this undifferentiated chaos of anguish, fear, and mistrust there is hope [larger than a mustard seed] which seeks for the magical garment when donned will transform me into the Great Mother. It is childhood faith that clings to the belief that as God witnesses this transformation, absolution and reconciliation would simultaneously subdue this impenetrable monster and return my son, whole with the spirit of life, to…*