Loie Hollowell, Two centimetres dilated, 2023
I’m telling Ben about the heist I read about, how she distracted the security guard while he went upstairs and plucked a painting off the gallery wall. ‘De Kooning!’ I crow. It still thrills me. ‘No one even knew until they died!’
It’s late. Ben watches me from the end of the couch, that pinch to his eyes. ‘Should we call the midwife?’
‘What? No.’ I wave an irritated hand. We have miles to go. Miles. I reach the end of the living room and turn. ‘But I haven’t even told you about the best bit. He—’
‘Slow down.’
‘—Wore a fake moustache. That was it, the whole disguise!’ I keep playing it over, how anyone could just stroll in like that. No real plan, just a dollar-store stick-on and a baggy coat. That’s what I marvel at. How either of them thought it could be alright. But I only manage a few more steps before I’m hissing through my teeth again. The pain is red, orange, magenta, black. Pulling me wide.
Dana Schutz, Breastfeeding, 2015
She was on a plane, long-haul flight somewhere. Her baby was crying so she fed him, like they tell you to do, to calm him. But then she fell asleep. This is what I think about, at three, four, five in the morning, whatever broken time it is, willing myself to stay awake so I don’t suffocate my child and turn into one of those mothers on the news.
The bedroom door creaks and Ben shuffles out to check on me. Also because last week at the clinic, the midwife gave him a pamphlet on postnatal depression. ‘These are the signs,’ she’d said, like she was already thinking about what kind of muffin to get on her break. ‘You should both look out for them.’ And now he is, because he’s like that, and I am pretending I can’t see the doubt in his eyes, the way he studies me. It was his idea, the baby. I thought I could. At least, I told him I could.
The tap runs in the kitchen. Ben sets the glass of water beside me and bends over the back of the couch. His breath is warm on my neck. ‘Look at him,’ he whispers, because love is no problem for him. Love comes easy. ‘Look at his little eyes, rolling back like that. He’s so bloody drunk.’
The glass is the only still thing in the painting.
Julie Rrap, SOMOS (Standing On My Own Shoulders), 2024
Those mothers. The ones who are never on the news. The ones who say, Just heading down the club for a bit, there’s baked beans in the cupboard, and sort your brother while you’re at it. The ones who tell you, Don’t ever get knocked up, worst mistake of my life. The ones who, if you reach for the remote, might suddenly lance their cigarette into the back of your hand.
‘I don’t know how to do this,’ I tell Ben, our son in my arms. A weight now. A squalling leviathan and he knows. He knows I’m failing him and it breaks me into a million tiny pieces. I do everything I’m meant to. I feed him. I change him. But it’s not enough. And maybe if I’d had a different mother, the love would flow just fine. Maybe it wouldn’t always get so tangled in the constant terror.
Ben somehow manages to hold us both. ‘But you are,’ he says into my hair, the same thing the midwife taught him to say in the delivery room. ‘You already are. You’re doing it.’
Around us, the gallery creaks with other people’s footsteps. The two bronze women rise tall, the one balanced on the other’s shoulders, working together, feeling their way. My son, fifteen now, young leviathan indeed, hunches into his embarrassment. He wants to but he can’t quite face it. These two old women in their nudity.
Grace Cossington Smith, The Window, 1956
‘Oh, I don’t know,’ I say, when my son asks what I see in it all. ‘This and that.’
He’s uncomfortable here. Doesn’t like the quiet, or the feeling that he’s missing something. ‘It’s just a window,’ he says again. ‘I mean it’s pretty, but is that it?’ Like every teenager is always saying. What else is there?
He looks back at the entrance. The crowds drift past on their way to the main exhibition. He wants to be with them, not out here in the wings. No headsets. No trim explanations. I could tell him, Yes, it’s just a window. I could tell him how his father used to plant his hands on my shoulders when he caught me standing there dreaming. How rituals are made, over and over. How eventually I told him I was thinking about my mother and how I was just the same and he said, The fuck you are. Don’t even think it.
Ben has already found a bench. I watch him across the gallery, squeezing his bad knee. ‘Maybe you could take your dad to the café?’ I say. That is, after all, why the two of them cooked up this plan. The view from the sculpture deck. The pistachio crème brûlées. A nice mother’s day treat. ‘You can get us a good table. Go on, love. I won’t be far behind.’
He is taller than his father now, has the same worry to his eyes, but the uncertainty doesn’t last long. He’s too hungry, for everything. Too eager to see what comes next. He nods at me and goes to collect his father from the bench. And I know exactly how it would feel. A small canvas, maybe. Nothing grand. The tidy weight of it tucked under one arm. The quiet surprise of making it down all those steps and out into the street.
Jane O’Sullivan is an Australian writer. Her art writing appears in Vault, Apollo, Art Monthly, Art Guide and many others. Her fiction has won the Rachel Funari Prize and joanne burns Microlit Award and also been published in Meanjin, Bull, Peatsmoke, Passages North, New Flash Fiction Review, Milk Candy Review and the Spineless Wonders anthologies Pulped Fiction and Play. She lives on Bidjigal and Gadigal Land in Sydney and is online at janeosullivan.com.au and @sightlined.



