An experiment on a Bird in the Air Pump

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2019

The worst year of my life. Before covid.

I was aimless, wandering the halls of the British Gallery sometime in October, when I saw it.

The painting is so sombre it presents itself as a void — something you notice peripherally before you've decided to look. Unlike other works, it pulls your attention precisely because you don't want to meet it directly. Because when you look, you become complicit.

Standing in front of it, your eyes flicker between the white bird being drained of breath and the scientist who is draining it. Everyone else in the painting is reacting. You are the only one not reacting. And then you realise you are.

This is how I discovered oil painting at a cellular level. Not vicariously. It was a tactile recognition of something I already knew — a reminder of what I had lived, that last Sunday of April just passed.

The weight of it came down on me like a wall mid-demolition.

My personal horror. Painted in 1768 by Joseph Wright of Derby. More than two hundred years before I was born.