“Turn left there. Not here, just down there, here. These green gates.”
So he turns abruptly after nearly missing the driveway.
It’s coarse gravelled, and to the right the lawn stretches to a tree lined fence, on the left the expansive lawns cascade towards a lake surrounded by contemporary shaped trimmed hedges.
Now he tries to park.
His first attempt at parking demonstrates Queenslandness. He choses for no good reason the wrong side of the median plantation at the entranceway. Turning off the engine he says,
“Well we’re here, ”
She looks tenderly at him replying,
“So why are we parked here?’
He looks forward through the windscreen then back in the rear mirror, and sees his error. They’re not in any known parking spot, but in the middle of the roadway.
The car restarts and with a quick reverse and forward he manages to transform his Queenslandness into his Chineseness, rear left wheel mounted on a sleeper on the other side of the low plantation, though now in a designated parking spot.
Hand in hand they stroll to the gallery, magnificently set with a sweeping panorama to the lake and sculptures set within the treeline and park manicured lawns.
It’s all so unexpected, here in the midst of encroaching suburbia, 40 acres dedicated to an artistic pursuit.
White grey walls with subtle floor to ceiling windows allow eastern and northern sun to warm and light the austere administration block.
The entrance is cool, the welcome in the foyer though is expansive from a clearly motivated attendant. Left and right and straight ahead are described engagingly in a manner which makes each direction as intriguing as the other. They chose the right … its sculpture of metals some stoneware a little timber though none of remark.
Back through the foyer again and turning to their right they enter the main voluminous gallery. A zig to the left, then a half zag to the right brings them face to face with a flaccid penis, connected to a fierce, wild looking seated nude gargantuan man.
He squeezes the breath jointly from them.
Aghast they stand transfixed. Were he standing he’d be 25 foot tall. It’s a man, his manhood magnetises her gaze. He gazes belittled.
Fascinated they circle the seated figure, the chair at least seven feet tall, each hair on his leg the length of a pencil.
But it’s the face that transfixes. Staring ahead and to the right the expression is of incipient anger and pending threat. Somewhere deep inside the viewer a sense of otherness is aroused. Playing to all our senses of the past, shunned and hidden as suggested in the biographical description of the piece, the triumph of organised Christendom over the naïve spirit, Arcadian legends of the European dark woods are evoked . Is this the initial triumph of the east over the west, to be reversed by the crusades, then reset by Islam?
None of this shows in the seated man’s face. It’s a face of mixed threat, fear and unknowableness. They look upwards at his spine, his arms and the pigeon toed inwardness of his feet, arched on the soft fleshy pad of his feet balancing his body on the seat.
The strength of his arms and legs show in the tautness of his pose, muscularity dormant but captured precisely in the folds of his flesh against the wooden seat.
The rest of the visit is dominated by his presence.
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