The Obamas’ portraits had been unveiled a few months prior to our visit to D.C., so we were excited to make a pilgrimage. While the museum was busy, the galleries are large and numerous. After a day of walking, we cut some rooms short, skipping some parts entirely. Portraiture is lovely, but once you’ve seen one old, dead white man, you’ve generally got the gist of it.
The newest addition to the National Gallery of Art in Washington, D.C., the National Sculpture Garden is home to over twenty sculptures. The garden is centered around a large fountain, which predates the creation of the sculpture exhibit. The garden is directly to the West of the National Gallery of Art, and borders the National Mall to the South.
We rode in silence along the city’s Northern ridge. Our hands lightly clasped, but our eyes stayed fixed on the city, our stillness a permission allowing each other the space to savor our last few moments in our own way. For two months, we had been drinking Cuenca in. Our glasses had been all but emptied. We swirled the last lingering drops and took a final swig.
For them, we were the ones out of place, two gringos staring at a marred wall. Cuenca’s dichotomy of modern and classical, of conservative and rebellious, so unexpected to us, was an an all too mundane part of life for its citizens. Their love for the city had settled and grown comfortable, the recollection of its charms reserved for special occasions. But we were barely acquainted with this place, learning its quirks and becoming ever more intrigued by each discovery into its complicated nature.
Exhibits outlined Ecuador’s rich and varied cultural makeup, displaying the traditions and garb of the various ethnicities that comprise the country. The detailed skirts and peaked hats of the native women were explained, giving us new-found respect for the artistry and tenacity of the native traditions. It was a stark contrast to our experiences in the American Southwest, where the narrative is generally one of decimation and dissolution and traditions forever lost to the ether. Tribal masks were reminiscent of the artist Basquiat, famous for injecting African themes into his evocative graffiti-inspired style, forging a strange link between three continents with those same threads of universality waiting to be found in the museums of the world.
I can understand why people don’t switch careers. You don’t have to be the smartest person in the room to have gleaned some intelligence through experiential education. There’s comfort in knowing how to impress a boss, navigate a client meeting, change the printer cartridge. Eventually, you’re able to find flow in a stack of TPS reports.
The dragon was situated at the center of a small pool. The artist had inhabited its watery realm with a conch shell, a whale, and a frog. Their assembly in the same biosphere struck me as being unlikely, but it seemed a minor detail to dwell on when given I had already accepted the presence of a dragon. The whale and the shell went unnoticed, but the frog had garnered the creature’s attentions. The dragon was staring it down, mouth agape, where a stream of water would somewhat ironically be spewing from its unfurled tongue, had the fountain been turned on. The frog was doing a good job of holding its own, all things considered.
We took Rio Tomembamba as far west as Cuenca would allow. The final bridge cut sharply South, while the course of the river meandered into the forest and towards its headwaters upstream. We were well away from the city center, out among errant chickens and lazy cats, all roaming in the tall grass, watched over by scrappy canine defenders.