Nilima Sheikh – A Wandering Jewess

On Wednesday, Linda emailed me to cancel our date to the Art Institute. Understandably, as she recently fell and cracked a few ribs. She is on the mend, but not quite well enough to go out.

And just like that, the universe provided me with my Artist Date – Number 72.

I’ve been struggling with them lately. Planning. Going. Writing.

I thought about messaging R. to see if he wanted to meet me. We’ve been messaging one another on OKCupid, but haven’t met yet. We will next week, over coffee.

Yes, I just not-so-subtly slipped that in…that about two weeks ago I somewhat hesitantly joined the world of online dating. Although I haven’t had a date yet.

Yes, my entire blog centers on life after divorce. The heart-breaking dalliances, and the more than year-long commitment to dating myself, courting my own creativity. But I neglected to write about this. Amazing.

Yes, blog forthcoming.

And yet, something knew better. A higher self? Just the universe at work? For several weeks now, despite my feelings and my best efforts, time and space for my solo sojourns has serendipitously appeared. And my feet have followed. Habitual. Almost like brushing my teeth. But coupled with a craving –for time. With me. Outside of me.

And so I nix the message to R. Grab a banana and a latte at Starbucks – the divorcee’s dinner – and head to the Art Institute for the lecture, “Return of the Modern Masters.” I hadn’t even realized they’d been gone.

Crossing the street I see A. reading a newspaper, waiting in line to enter the museum for free after 5 p.m. I invite him to jump the line with me – pulling out my member card.

We are early for lecture. We wander into the Nilima Sheikh’s exhibit “Each Night Put Kashmir in Your Dreams.” I saw it the day Mr. 700 Miles slipped out of my life without a word. When the heart space between us –which up until then had been just inches –became a chasm I couldn’t seem to reach across, no matter how I tried. Artist Date 68.

I tell this to A. while we view, Farewell,” a red scroll with two bodies entwined. A man peeling open his chest, exposing his heart. It reads “If only somehow you could have been mine. What would not have been possible in the world?”

I tear up.

“I’ve done that too,” he says quietly. Somehow, this makes me feel better.

He tells me he couldn’t face hurting her. That he told himself he was sparing her. Sober now, he understands he was only sparing himself.

I tell him that 700 Miles is active in his addiction to drugs and alcohol. He nods. “That’s what we do.” This is not the first time I’ve heard this in regards to him and our story. I nod, but I still do not understand it.

I show A. Marc Chagall’s “America Windows” outside of Rubeloff Gallery, where the lecture is. He hasn’t seen it before. I tell him that Ferris kissed Sloan here. I am not sure he is old enough to remember the movie. I feel like a docent, showing A. my Art Institute.

The lecture moves quickly – giving context to the positioning of the paintings and sculptures that have been returned to their rightful homes.

I am tempted to take notes. I have before, knowing I was going to blog. Sitting with A. I feel somehow self-conscious. As if he might ask why.

I think about my friend Nithin commenting on kids and not-kids filming concerts on their phones. Experiencing the music through a screen rather than directly. Disconnected. Too busy “showing” everyone where they are – via Facebook, Twitter and the like – rather than “being” where they are.

I imagine my note taking might fall into the same category. I allow myself to just listen. I free myself from the need to remember.

A. and I part ways after the lecture. He is meeting a friend for a concert at the Chicago Theatre. (I wonder if he will watch it through his phone.)

I climb the open-backed stairs – the kind that make my ex-husband nauseated and panicky – to the third floor galleries, to see the “Returned Masters.”

The galleries are crowded. I wander. Thinking about the lecture. About artist life in Europe before and during WW II. But ultimately seeing the work through my own lens.

I drink in the juicy, ripeness of Max Beckman’s “Reclining Nude.” And I wonder why I am so set on waif-y thinness for myself.

I smile at Chagall’s “White Jesus,” recalling it is a favorite of the current Pope. I notice my tendency to breathe deeply when facing his work. As if I might inhale something of him.

I recall “Human Figure with Two Birds” from the Max Ernst show at the Metropolitan Museum of Art. I greet it and Loplop – the bird which comes to represent Ernst, “the private phantom attached to my person” – like an old friend.

I giggle at the “Exquisite Corpse,” a game played on paper by Man Ray, Andre’ Breton and Yves Tanguy while they waited for WW II to end – each adding to an unseen figure, folded back accordion-style, out of sight.

I long to feel the smoothness of Alberto Giacometti’s “Spoon Woman” and Constantin Brancusi’s “White Negress II.”

The “returned Masters” have helped return me to my own. Out of my head and my heart. Into my feeling body. Like the Masters, I hadn’t even realized it had been gone.

I have given my power away.

I feel vulnerable. Ashamed. I am “that woman,” wringing her hands about “that man.”

Disgusting.

I gave my power away when I said, “I can’t do this.” Telling him I needed more. And that he didn’t seem capable of giving it to me. And did it anyway, becoming more and more deeply entwined in our long-distance intimacy.

I did it when I told him I could not Skype with him. That it was too hard to look into his green eyes. To see him look back at me in a way I can’t ever recall being seen. And did it anyway.

I did it when I promised myself I wouldn’t reach out to him for 30 days. Not as a game or a test. But to find out how he shows up. And reached out anyway.

I did it every time he mentioned bad timing, money or miles between us, and chose not to listen. Only paying attention to the part where he changed his mind, usually about 10 minutes later, saying he did want to “find out about us.”

I made the rules and I couldn’t keep them. Just like when I used to drink. And it left me feeling the exact same way – anxious, obsess-y, over-thinking. Knowing in my heart that something isn’t right, and trying to make it work anyway. Somehow believing “this time will be different.” Powerless.

***************

I am standing in my bedroom in front of a batik wall hanging of Ganesh — Hindu boy with an elephant head, Remover of Obstacles – like I do every morning.

I kick my meditation cushion to the side, put my hands in prayer, in front of my third eye, and inhale deeply.

“Lord Ganesh, give me back my power.”

I feel a surge through my body, a response, and am flooded with words of direction.

Carry Ganesh with you. Visit India. See Nilima Sheikh’s “Each Night Put Kashmir in Your Dreams” at the Art Institute. Artist Date 68.

***************

It is the Saturday before St. Patrick’s Day. The train headed downtown is filled with drunk twenty-somethings in oversized green, foam hats, green socks and beads. I put on my sunglasses and turn up Nina Simone and try to forget that he did not show up last night.

That he has not responded to my text.

That I am the one with the problem.

I get off several stops earlier than necessary and walk. It is cool and sunny and I feel happy in my grey wool coat, knit hat and red ankle boots. I make note of the galleries on Superior Street. Future Artist Dates. I feel my power growing.

***************

I step inside the Special Exhibit Gallery. It is quiet. Still behind glass doors. I stand in front of a painted scroll titled “Valley.” The canvas is green. Lush and gentle. A verdant map. I begin to cry.

“That really affected you, huh?”

It is the museum guard –a woman named Denise. She wears long braids gathered together. I nod. She says a few more things but I cannot take them in. I am lost. I politely tell her I need to be alone in my quiet. She nods. I feel my power growing.

I approach the canvas, “Farewell.” Red, with two entwined figures – one holding open his robe, displaying a map of Kashmir where his heart should be.

“If only somehow you could have been mine. What would not have been possible in the world?” The words stenciled in gold at the top of the canvas. “We’re inside the fire, looking for the dark,” on the back.

I feel like I have been punched in the gut.

The tears return. I am breathless.

I return to “Valley.” “…And though the guards searched for him with the sun in one hand and the moon in the other the demon baffled them.” Stenciled on the back.

He sought me. I am baffled, wondering where he is now. But knowing I must continue to seek myself. I feel my power growing.

***************

I share a bench and a cup of tea with a couple in the member’s lounge. We talk about shoes. About art. About recovery and vibrators and relationships. They tell me I need a man who is here. I know they are right. I feel my power growing.

***************

In some ways I feel like I have been waiting all of my life for this man. And I am “Dying Dreaming.” (The words, like all those in quotes, names of Sheikh’s canvases.)

But I also know that his life is still a “Construction Site,” while I am “Gathering Threads” — stringing together the people, places and pleasures that bring me joy, that make me whole. Power cords.

A Wandering Jewess

My Journey Back To Self

Tag: Nilima Sheikh

Artist Date 72: I Hadn’t Even Realized They’d Been Gone

Artist Date 68: Power Cords