"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.”

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          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

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