There are narrow winding lanes of tiny shops in the Port’s center. The chocolatier has a fan above his door that sends the aroma of freshly baked fudge out into the open air. He sells ice cream, too; homemade. From the other ceramic, dress and novelty shops, especially the quiet, sequestered ones along the winding lanes, away from the busy little main street (called Myrtle Avenue), there comes the scent of patchouli, citrus and lavender, often the piped strains of guitar or harp music. You might find a busker working away at his guitar or flute on one of the little alley turns over near the water’s edge. People stop to listen. It’s busy in summer. (I noted the license plates of distant visitors.)
And then immediately south of the short row of scollop and shrimp boat docks, there is the fresh sea scent blowing in off Lucian Inlet and the view of the open ocean beyond. There is a small park, a mere patch of greenery at the water’s edge with two sugar maples for shade and benches for the foot-weary tourists and those town residents who make a point of gathering here daily, like the women’s knitting circle and some men who bring a folding table for daily games of chess. There is a small garden and a monument statue of angels at the heart of the park and at the heart of a lovely fountain. For those sitting on the few nearby benches, looking out toward the sea, there is always the gentle sound of water plashing over stone and falling into the tiny pond below. People have tossed coins into the pool. A brass placque by the pond’s edge tell you the fountain was dedicated to a long departed benefactor in 1958. A wooden sign rising up from a stake thurst into the brown garden mulchtells you in Olde English lettering that the flowers are watered and the whole garden maintained by the Port Lucian Garden Club.
For forty years, Mercy Strange has had her little art gallery halfway down Periwinkle Lane in the Port shopping district. For years, she had worked in oils, acrylics and watercolors and still displays and sells those old legacy works in her cramped but cozy space. But, sometime early in this century, she switched to working in charcoal. She said it was the light in Port Lucian that made her make that shift — a peculiar change, no question, just to work exclusively in black and gray, drawing what in real life are colorful landscapes and seascapes and, now and then, she will generously draw portraits on-the-spot of some of the people who approach to watch her work at her easel those days she goes to the park.
It seems odd to be turning everything gray in such a colorful, charming world.
I asked her about the change. She said it was the light that she sees over everything — she insists the light at Port Lucian is gray. Now, everyone else saw sunlight, although there were certainly gray days when clouds rolled over the coastline beyond the bluffs, or when winter came and the occasional snow cover would turn gray –or slushy- icy silver– on the sidewalks and in the otherwise clean gutters, and on those especially frigid days when ice would form on the masts of the fishing fleet.
But to Mercy, the whole Port, where she has lived all here 69 years, had become gray in every season. It was a singular and curious evolution in her artistic vision. It baffled many of us.
Gray light at Port Lucian: That was the name of her last exhibit in February.
Gray had become Mercy’s color of choice.
She also said the village, indeed, the whole world (according to her gray vision) had become more and more gray, crass, mercenary and materialistic as the days and summers and every season, bright or gray — even Christmas, all red and green and draped with holly — came and went and came again in Port Lucian and in the universe.
She was not specifically speaking of famine or disease or pandemic or war are political termoil. She was speaking of –well, of death. Life and death, and all the gray in between.
Some of us thought she might have suffered an ocular, or specifically, a macular degeneration that was effecting her physical vision.. But she assured us that was not the case. In fact, unlike many of her age –she is 69 — she is still gifted with 20/20 eyesight. We know this because, sensing our suspicions regarding her health claims, she showed a few of us the results of her eye examination. Yes, she was 20/20.
I see Mercy on my frequent trips to The Port. Her world has been in deep charcoal gray going on fifteen years now. I’ve been wondering about that. About Mercy, and the Gray Light….What emotional or mental — or, still I wonder if it is not physical — factors have altered her view of the world. Surely, over that period, times have been good or bad. Good and bad can be rendered in color or in black and white — or gray. Gray is more somber, more ambiguous for certain. Many of life’s circumstances seem gray. Of course, when as many movies were in black and white as in color, we did not necessarily feel our mood dampened. Those were often the filmmaker’s economic decision. Often, but not always. There is a quality rendered by black and white which color cannot convey, not to mention what gray conveys.
Mercy reminded me that DaVinci worked extensively in charcoal, including in his famous study of hands. German artist Kathe Kollwitz used charcoal to express the struggles of the working class and the horrors of war.( It was to Kollwitz’s work that her growing body of work was most often compared.) John Singer Sargent certainly let earth tones prevail on his canvasses.
So, Mercy Strange is not unique. But it was still peculiar or (forgive me) strange that she so seemingly abruptly shifted from a colorful vision of the world to a gray one.
So most of us who consider ourselves friends, patrons and supporters of Mercy Strange had accepted her shift, invited the art media to highlight her growing body of gray and black (but mostly gray) work. I personally bought one of her charcoal drawings of crows gathered on a bare and dying oak tree on the bluff at the entrance to the inlet. She called it, in complete accuracy, “A Murder of Crows,” for that is how such a gathering is known in the avian lectionary.
All well and good. Meanwhile the quaint, colorful and charming life of the waterside village known as Port Lucian continued, the coffers of her merchants rising and falling as the national economy rose and fell,buffeted by seas of contemporary political overtures, advances and retreats.
But six months ago, the skies seemed to darken to the edge of her twelve-by-twelve mile borders. Yet there are no clouds overhead, but the sky nonetheless seemed a deep gray. It is as if clouds dissolve the second they drift into The Port’s airspace but the sky remains gray for no known atmospheric reason, or so those who beheld this phenomenon declared.
But was it just Mercy’s mood spreading — or do we all, from time to time, even for long periods, see nothing but gray? But Mercy above all seemedd to be seeing nothing else.
It was about then that people really began to take note of Mercy Strange sitting with her easel, and sometimes sitting without any easel or drawing implements — sitting among the rocks bordering the inlet.
She would sit there for hours on end. Finally one day, I made my way out there along the waterfront road, parking my car at the base of the rocks where there was a scattering of teenage grafitti defacing the pervasive beauty. (There is always a bit of blight scattered about the world — but, of course, the reality is — there is a whole lot of it.)
I found the path Mercy must have followed through a few scrub pine and then onto the rounded, bare, sometimes slippery rock surface until I saw Mercy sitting there…
She was sitting before her easel, but she was not drawing. Her hands were by her side. She was staring out to the open water. She’d apparently set up her easel out of habit. But her canvas was empty.
I approached….I don’t think she knew I was there. She was briefly startled when I said, “hello, Mercy.”
She looked at me, standing now on the precarious rock surface to her right. I smiled. She said, “sit here for a moment, rest, though, I’m sorry I do not have another chair.”
I sat down on the rock, drew my legs up. Her folding chair was low to the rock surface. “It’s coming soon,” she said.
“What — what’s coming soon?” I said.
“The cloud,” she said. “I don’t know, it’s sort of like …..I saw this film as a child. Perhaps you saw it, too. Husband and wife along on a boat on the open water, obviously unhappy in ways you or I would not yet understand as children. The wife goes below on the small boat, the husband suddenly notices a cloud approaching on the surface of the water.”
“I think I recall this movie,” I said, “from a Saturday matinee. It made me have my first bout of juvenile depression. At least that’s how it felt. As I recall, the cloud makes the man shrink away to nothing – in a black and white movie about a black and white…and gray…world.”
“But not,” Mercy reminded me,” before he falls victim to the family cat he’d once loved so much — and, escaping to the basement where he lives inside a match box but is attacked by a spider — a small spider that, in his new universe, is a giant, hideous monster…”
Thought the breeze on the rocks was gentle, I was getting a chill. “Yeah, you’re bringing it all back,” I said.
“And he shrinks and shrinks — to an atom, alone.”
“And his wife and everybody think he was eaten by the family cat.”
“Yes.”
“Enough,” Mercy. Have mercy…” and I chuckles.
And, from here on out reader — well….the revery, the vision, the revelation, the necessary human act of understanding, of comisseration, of vicarious participation in another’s invisible suffering…. the what-have-you…
for…Mercy suddenly said to me, with great urgency…
“Look,” and I looked out where she was pointing beyond what boats were visible on the water, including a tanker far out toward the horizon. It was a consoling, beautiful scene. But she was pointing to a low-lying cloud.
“Mercy,” I said. “That’s just a cloud.”
“Yes,” she said, but clouds have been coming ashore for months now, gray clouds. In my life, anyway. How about yours?”
“Well, I don’t know,” I started to say.
“And you haven’t seen the clouds gathering out there, getting ready to push ashore?”
“I listen to the weather forecast,” I said. “Clouds come and go…”
“No clouds in your forecast?” she said, looking at me again, then out to sea — toward whatever cloud she was seeing.
“I haven’t seen any,” I said, meaning clouds – or, at least, clouds or a cloud of the kind she seemed to be suggesing; an ominous cloud. The kind of cloud that could turn the world gray, change our climate, within and without. We’ve all known such clouds. “I’ve been here every weekend,” I said with redoubtable optimism,” and sometimes during the week. I love it in the Port, I come here often, as you know. We have had nothing but sunny skies…and the world here is — colorful.”
But then, I noticed the air suddenly growing hazy. I turned and looked toward the sea, but a fog –or was it a cloud — had suddenly, mysteriously, engulfed us. I could barely see Mercy right next to me. I was suddenly terrified. What was going on? I looked back toward the village. It, too had vanished from sight. The rocks were suddenly moist and slippery.
“Mercy,” I said. “Are you there? What is happening,” as if she would know. I put my hand out toward her, and touched — nothing, not her not her easel, nothing.
She was gone…
After a solid two minutes, paralyzed by my utter bafflement, I carefully rose, crawling first, then standing once I was sure I would not slip off the rocks into the bay. My heart was pounding, for I wondered, was this a dream? A very bad dream?
I made my way back down between the patches of green to where there was dry earth and pebbles underfoot. I fumbled out my car keys, but all the while wondering — had I left Mercy up there? Had SHE somehow slipped silently into the inlet’s waters? But, no, she was gone. I looked about for her small old Volvo, but then recalled that it hadn’t been there when I arrived. Mercy was known to walk all the way out to the point.
The haze was all about me now. Yet, it was nothing I could breath. It seemed somehow–artificial, as if my sight merely needed to adjust to the condition and it would vanish. I backed up and, careful that no cars were coming around the bend, started slowly through the haze back toward the village along the waterside road.
Then, as if things were not terrifyingly disorienting enough, I suddenly emerged from the fog and the villeage was spread out before me at less than a mile’s distance….but….in nothing but gray tones….gray, black and ghastly white.
And as I drew slowly closer to the town, the distant prospect of collected, charming cluster of roofs and windows of shops did not enlarge. The whole scene stayed as small as it might seem from a mile away….
And beyond anything I’d ever experienced before came the moment I arrived on the road that had shrunk to a black two-in line and I was driving on dirt and along the waterfront was a collect of dollhouse and toy boats where there had been a full village.
And no people, large or small. I was alone. No birds, no signs of life — just a former world diminished to a toy store’s display of a village by water, that was suddenly just a pond and continuing to shrink…I had not noticed that my car had disappeared from around me. It was at below, between my feet. I went to pick it up — and the ring fell off my finger. And I was……shrinking, and was, all at once, on a wide desert where all but the burning sands were vanished. But Mercy Strange was coming toward me, slowly -smiling wistfully.
And she said, in greeting, “You know now what I have been feeling. Do they call it depression? Whatever they call it, I’ve been trying to paint it, draw it — a world gray and shrinking until there is no place for me…..
And then I woke on a bench along the village’s Myrtle Street — all restored, color life, people all around and I sitting in the cool sunlight under a chestnut tree….and I could see Mercy Strange sitting in the break between the low, charming building….sitting in the park by the shrimp boats and the bay leading out to the sea, people and flowers all around her. She was drawing…no, she was painting in bright colors. That much I could see – the colors. I rose and at the first break in the mild summer traffic, I crossed and walked toward her.
Yes, Mercy, you are back, I thought. But I must tell you of my dark vision……that, for so many years had been your lonely, crushing vision….
The cloud has lifted. The Light is shining in
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