When I was last on the road I had the bright idea of documenting my long term travels in a slightly more interesting medium than the upload of a gazillion facebook photos.
I'm tempted to buy an old note pad and some paints and have a very amateurish go and sketching my locations as an alternative. However coming upon artist materials travelling through south east asia is easier said than done, until that is i had an impromptu art lesson courtesy of Mr Wan...
There is nothing like being somewhere heart breakingly romantic to remind you how unutterably alone you are.
On one such evening in Central Vietnam I took a stroll into Hoi-Ann. A picture postcard of how I like to think Vietnam looked in the 18th century.
A little golden bridge arcs a milky green river strung with different coloured lanterns. In the water villagers offer rides from old wooden rowing boats, and crouching on the banks they sell paper lanterns with lit candles inside for people to float down the water for luck.
I sigh audibly. I can't remember when i've ever been somewhere so pretty, I can't remember the last time I missed being in a relationship so much and wished I had someone along side me holding my hand. The water is awash with the gentle amber glow of the floating paper lanterns. I go for a meal on the water's edge and have another speciality to Central Vietnam. Succulent (for a change) grilled pork with rice paper rolls and a sweet broth with peanut sauce, washed down with some beer .
The old town is filled with tourist shops hawking Vietnamese cloth, little figurines and ink paintings on rice paper. I stop in one little shop that sells the latter and ask the man inside if he knows where I can buy any paint and paper. Instead he shepherds me inside.
“I don't want to buy a painting just paints” I explain.
"I understand" he says " Sit down."
I sit down at his work table in a dimly lit backroom - the outline of his mother (?) is just visible lying horizontal on a mattress further in. He gets some scraps of rice paper out of his newspaper. I start to look around the shop – outside he has brightly coloured acrylic and oil canvases in sunsetty colours of traditional Vietnamese scenes - women in their elegant long flowing shifts and trousers, and conical hats wading through paddy fields.
He dips his paint brush in the black ink and starts to paint on the scrap of paper. A sea, some bamboo in the foreground, a little rowing boat with the pointy hats of the men just discernible and a fishing line.
“Now you!” He says handing me the brush.
“Oh no!” I protest. But as i've asked for artist materials and he seems to think i'm a painter – I can't really refuse. I take the brush and diligently start trying to paint a similar scene: sea, bamboo, boat, people.
“Quicker!” he says.
“No wrong...” he says taking a brush again and deftly pushing the fat body of the bristles down to make a bamboo stem in record time.
Then he does a lady – with three or four simple quick strokes.
“Easy. Do quicker. No wrong."
He means there is no such thing as wrong. I try again, making just a few confident bold strokes and get a little better. Then he takes some more paper and shows me the symbol for LOVE in Chinese and Vietnamese – and then how to paint the characters – the numbers.
At first i'm still holding the brush like a pencil but he encourages me to push it down flat and make big fat strokes. After a happy half an hour painting with him he gives me one of his sketches as a keepsake and I leave for some food.
I used to love art – it was always one of my best subjects at school until the glacial Miss Sage put me off it for the next two decades.
“Is this o.k?”
I'd ask her – not sure if i'd got whatever technique we were learning, down correctly...
“ well that's about all it is, isn't it” she'd say with about as much warmth and humanity as an arctic wolf.
She had a penchant for stripey parisian style cardigans and culottes, one hazel eye and one blue (both able to pierce you to the spot along with the froideur of her ice cold sarcasm) along with a nasty case of short (wo)man syndrome.
Don't choose your subjects because of your teachers -they tell you. Well I did – and subsequently left my art career behind at 15.
If there is one thing i've learnt since about creativity and how to nurture it back to life – its this. Failure is essential. We don't get anything right first time and we don't learn anything by trying to be perfect. Contrary to everything Miss Sage might have thought – Wan my Vietnamese artist friend has it right – there is No WRONG.
Now where did I put those brushes…