"Art Therapy"
Crystal Hurdle
Recovering instructor Crystal Hurdle, after teaching English and Creative Writing at Capilano University (North Vancouver) for 35 years, is reinventing herself in retirement by practicing yoga (wimpily), cycling, jogging (badly—cyclists can pass her), weaving, and quilting. After decades of attending beginners dance classes, she’d like to move up to intermediate but doubts such will happen in this lifetime. A self-confessed Plath and Hughes addict, she developed and taught two courses (creative writing and literature) in which their work figured prominently. Sick Witch (2020) and After Ted & Sylvia (2003) were published by Ronsdale Press. Teacher’s Pets, a teen novel in verse, was published by Tightrope Books in 2014 and is part of the 2020 North Shore Authors’ Collection. Her poetry and prose has been published nationally and internationally.
“‘Art Therapy’ explores how self-directed playful art therapy combined with female friendship can be healing when interacting with three different pieces at the Vancouver Art Gallery, Vancouver, BC, over time: Gillian Wearing’s performance art piece Dancing in Peckham (1994; shown later as Gillian Dancing); Ken Lum’s installation Mirror Maze with 12 Signs of Depression (2002); and a lovely sculpture by Henri Matisse.”
I
Before her head blows up
Susan and I see Gillian Dancing
at the Vancouver Art Gallery
re-create her loose movements mirror
image and double synchronicity
the crystallized performance piece
shoppers by, stoppers by
we are the world
of the Peckham mall in which she dances
as if oblivious of passersby
vacant teen in a vacant room
sun through windows rhomboids
mall floor becomes
clerestory, cloister
thrumming humming
academic lovers of art look curiously at us too
Not wearing headphones,
they don’t hear the music
Susan and I sweat-gyrate in art appreciation
Later, Susan’s
dissected interior carotid artery
is no art
alone
I find Gillian Dancing at the Seattle Art Museum
Gillian continues to dance in Peckham
a moveable feast
If art in Peckham, then art anywhere
not the refraction with Susan
now dissected-disoriented
a twinning of heart minds, feet snapping fingers
instead, I dance reflection of digitized Gillian
looping
Her gaze does not meet mine
Solipsistic artist
I miss Susan
II
We follow our own version of Art Therapy
camaraderie at the art gallery
how long Susan lasts
before fatigue gives her marble statue feet
how many floors before coffee
one and then two
how long before she goes home,
head by Picasso, and passes out
and for how Modigliani long?
improvements fine as brush-strokes
in Ken Lum’s Mirror Maze
Susan panics I guide her out
having done it before
mirrors refract
cunning
trickery
the numbers of the twelve symptoms
of clinical depression go backwards
disorienting
like the incomprehensible problems of math in junior high
if Susan can paint a portrait in sixty seconds
how soon completed if Crystal joins?
(if Gillian, also?)
assured, Susan walks ahead and smacks into glass
(I feel alone in the world)
I chortle
she, pained surprise fleeing,
snickers back
with her
not at her
laugh shatters ricochets
outside we see
the piece takes up little space
but we don’t feel it
cognitive dissociation
the trick: if you see yourself, don’t go
it is mirror, not passageway
cunning threshold
an odd unlearning
reflection gets you nowhere
(I can’t sleep at night)
she puts a finger in my belt loop follows slowly
not the blind leading the blind
(I have no friends)
we belie the text above us
deaf to the impregnations
to the words of logic in our heads
ears fill with fluid
in this glinting hard-edged place
faint signs of the sea
rebirth, recovery
III
Matisse Opening
like a reverse birth
patiently waiting in clothes trendier than Gillian’s
If the sculpture weren’t enclosed in glass
I would touch it
See the curve of the thigh
It’s called Nude Woman Suited, Susan misreads
we laugh at the oxymoron
several people around could be so titled.
the dewy tall girl who arrived on a bike
doffs helmet and dons fetching bowler
reveals slim short skirt and pumps
How was she able to ride?
Would Gillian Wearing wearing that be
able to dance so freely?
Life is performativity.
We mimic nude woman suited
or is it seated?
Rosy, fleshy sculptures,
blood close to the surface
It is crowded
Art as throng
Art as what one sees through ten people deep
Macular degeneration observation
Oh well, we’ll see it more clearly sometime soon
Better
Our VAG visits converge
Gillian’s gaze meets ours
suddenly
smiles
Gillian dances
Susan, healthy, extends a hand
so do we