November’s golden leaves evoke memories of families gathered around tables overflowing with traditional foods, stories long forgotten, and laughter echoing across the years. Here’s a poem I wrote, one of remembering a moment long ago that has never faded from my mind.

Madonna and Child: Oil on Wood Panel by Mary Lynn Bracht

I forgot until she did it

My mother reached up and stroked the Virgin’s face

Is this real, she asked, turning to look at me over her shoulder

My eyes couldn’t meet hers, instead

I stared at her fingertips, still pressed against the painting

And wondered what it felt like to touch history

Four hundred years ago in the jungles of Central America

Madonna and child gazed down at the pagan natives

With their Catholic eyes gilded in gold

I wanted to ask her if the holy family felt warm or cold

Greasy or dry, what did touching them make my mother feel?

But then I wondered what she meant by Is this real?

Did she mean the painting

Or the Virgin’s story?

And then I remembered

I had the same urge when I was young, to touch

What was forbidden, at sixteen

My own fingertips grazed the toes

Of Zeus, standing in silence in the Louvre

The cold marble was smooth

An electric spark shocked through my skin

When a boy caught me, and grinned

So when I finally met my mother’s eyes, I did the same

She had crossed centuries with one forbidden touch

©Mary Lynn Bracht

This year I’m taking a moment to appreciate the beauty each new day brings into my life. Day one is this painting of a prickly pear cactus bush beneath a full moon (created by my talented sister). I love this painting. Here’s to finding something beautiful to love. Cheers!

This small yet powerful exhibition at Blaine|Southern Gallery London ends in a week (19 January). If you haven’t seen these blood red threads painstakingly hand-sewn by the artist in person, you’re definitely missing out. Born in Japan and based in Berlin, Shiota’s massive yarn installation symbolizes the body’s internal connection to the neurons within the brain, while the feet cast from her own, connect with the ground, the world, the universe. It’s a free exhibit not to be missed.

Remembering the Marikana massacre of mine workers in South Africa in 2012. By artist Haroon Gunn-Salie, Senzenina (2018), the surrendering bodies have no heads and no hands, as though their minds and their physical agency are removed by the state. Primeval and shocking, it is worth a visit.

I spent the day immersed in Lee Bul’s surreal world of futuristic and sometimes brutal art on exhibit at the Hayward Gallery London. She creates obscene beauty and entire worlds with everyday materials. My favourite display was her porcelain sculptures of robot parts, which fuses old Korea’s traditional celadon pottery with steampunk fiction. They could very well be unearthed relics from some future civilisation, dug up and glued back together by archaeologists of tomorrow. The exhibition ends 19 August so make it down there before it ends! It’s well worth the visit. Link