The art of sitting

Choose a place to still your body and a restless mind. Sit. Start by observing all that is going on around you. Hear the background noises. Examine the occupants, textures and colours of the physical surroundings. Feel the movement and temperature of the air. Take your time. Acknowledge and appreciate these things. Once you have paid them their due. Let them go.

Look into your mind. Question the constant restlessness of your thinking. How important is it for this moment? Work your way through your thoughts, shedding all that are not essential to your being here and now. Settle any disturbing waves of turbulence to a calm pool within.

Breathe, slow and deep. Find your own rhythm.

Place yourself exclusively in this moment and space. Stay for as much time as you need. Peacefully, refresh and reset.

National Gallery of Victoria Triennial

If you couldn’t get into the NGV Triennial between lockdowns and all the other life stuff that interferes with what you really want to be doing, here is a small photographic essay of my experience. Being at the NGV again was such a treat. The visitors were well supported and everyone looked very cool and very relaxed. As usual, the curation was excellent. The artworks were impressive and engaging. It almost felt normal.

We started in the back garden where, as DJ, our daughter’s partner was doing a great job getting everyone into a chilled art space frame of mind. Seated under a shady Pin Oak was the perfect setting for the groove and the company. In fact, it was so chilled and relaxed I even risked my first light beer in a very, very long time. It was appropriately refreshing and I didn’t get my usual alcohol headache. Very pleasing.

Note: The photos are pretty grainy and may be a bit out of focus at times. I was using an old Nikon A300 point and shoot. It isn’t a very capable camera, but I had fun with it nonetheless.

Now see this: Kiera walking at the NGV

Video

This is Kiera walking by Julian Opie

Her gait is casual, her strides equidistant, her steps flow, one into the other

When Kiera walks she holds her back straight, her body tall

Kiera’s deportment is posture perfect, her carriage graceful

Kiera’s head sits proudly above her shoulders

Kiera holds her head high and steady

Kiera is confident, possibly aloof, purposefully advancing, focussing ahead, apparently disinterested in those of us observing her

As she rolls her shoulders with each forward step a small patch of white skin momentarily flashes above her breast

Kiera’s slender arms sway back and forth in alternating, measured unison

Each hand a pendulum weight that arcs in balancing synchrony with the opposing leg

Kiera’s hips sway as her pelvis thrusts gently forward with every rocking pace

Her thighs emerge from under her short skirt accentuating a lithe, long body as she catwalks endlessly, captive within the static frame

Kiera walks eternally by as a lateral projection, her curved buttocks accentuate the femininity of her stride

Kiera is an elegant image of the fluid mechanics of young adult human ambulation

The artist, Julian Opie, created Kiera

Julian is a master reductionist of the human form