Red Lion Gallery

paintings and drawings by
Guy Ottewell

Leo

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© Guy Ottewell 2007

Street scene in Qandahar

Street scene in Qandahar
At the time of my travels in Iran and Afghanistan I had a technique for memorizing quick-changing human scenes: I would look, shut my eyes briefly and "see" what I had just seen. (What is this "seeing" that is done not with the eyes?) Then I would open my eyes to correct my impression; perhaps repeat this several times — and thus photograph the details on the back of my eyelids. It was derived from gazing at clouds in childhood and wondering how far away they were and how they moved and changed, and finding that I could sense these by shutting and reopening my eyes. But what works is not so much a technique as the confidence with which you are using it. I was sitting in a café looking out at the street. After sketching people, I would later add a background, which might not be from the same place. I went over the drawing later with colored inks.

Much more could be said about Qandahar, in which I encountered my own double. Later the city (spelled Kandahar in western media) became the cradle of the Taliban.

These pictures are mostly lost. This and one or two others from Afghanistan were later bought by a doctor in Greenville with a name like part of mine. When the Afghan-Russian war broke out I asked to borrow them so as to show them at a public event; but he said "I like them and I'm afraid you'll steal them" and wouldn't let me even come to look at them. Later again I encountered someone who knew his daughter; the doctor had died, the daughter had two of the pictures, and (for more than her father had paid me for them) she let me borrow them and have them scanned by a friend. They barely, and perhaps with damage, survived a mistake my friend made with the scanned files after the pictures had been returned to their protective owner.

Caravanserai in Qandahar
Caravanserai in Qandahar
Hoping to change money, I found my way along a covered passage of shops, all closed in the noonday heat, into a sarây with an Indian name, Tara Singh. The courtyard was filled with boxes and bales rising as high as the rickety wooden gallery that surrounded it. Up on this gallery I sat on a crate to make a detailed sketch that I later worked into a painting. Only while drawing did I notice a couple of figures sleeping among the bales; I wrote on the corner Do nafar dar în sûrat (two persons in this picture). One of them woke and told me to come back after three.