2024 Comes In

Paul Cézanne's Pines and Rocks 

“Notice the brush strokes—how he uses space, how nothing is wasted,” my mother says to me. I’m nine years old, and we’re at the Museum of Modern Art in New York City. We’re looking Paul Cézanne’s Pines and Rocks, but move to The Bather, and she points out the lines of model’s muscular leg, and the color palette of the background.  “No wasted space,” she reiterates. This was to become her mantra in art, and in life.

In my memory, it’s just my mother and I walking through the museum. Today, I’m on my own.

My mother’s voice comes through me as I admire Van Gogh, Picasso, Gauguin, Seurat, Monet, Matisse, and Chagall. Their work swims into my eyes and triggers a pool of memories. 

Marc Chagall's I and the Village

I smile at the playfulness of Marc Chagall (I and the Village), and hear my mother talking to me about artists’ phases, stages, and senses of humor. She often spoke about process, and taking time to explore different subjects as well as styles of painting and drawing. In retrospect I realize that this—taking time to explore and try out—was also part of her modus operandi. I can see a variety of style in her paintings, illustrations, sketch books, and subjects.

I flash back to her trying to teach me how to translate what I’m looking at onto paper in the form of sketching.    Now I try to ingest in all the images I see, and transfer them into words.

I stop in front of Rousseau’s The dream.  I relish the personal space I have at that moment to approach the canvas, and focus. I remember my mother telling me that though he never went to Mexico (as he apparently claimed—thereby entitling his “Mexican pictures”) self-taught Henri Rousseau, was able, from his home in France, and thanks to his rich imagination and frequent trips to the Paris botanical gardens, to translate jungle images from his head onto his canvas.

Tears start to sting as I hear my mother’s voice again; she is proud of my recollection of the artists and their styles, her lessons, and for my taking the time to visit the museum, and ponder all. No wasted time.

Sonia O. Lisker Gargagliano 

I consider my mother’s “Mexican pictures,” which she created after spending time in Mexico—before I was born. I look at her brush strokes. And I can’t help but  notice in her paintings, many of which surround me at home, that there is no wasted space.

And so now in mid-January, we welcome 2024—and consider what we’ve done, what lies ahead, both anticipated and not.

Last year I had several goals: to dance flamenco, try new recipes—to read more, write more, and learn Italian. I still need to work on all, and I add to the list.

I can hear my father now, telling me—as he always did—that I have to take chances. (He was referring to talents and skills, not skydiving nor bungi jumping!)  Taking chances is on my list. No wasted time.

Life, after all, is precious.