Duh nuh… duh nuh… duh nuh… nuhNUHnuhNUHnuhNUH-AUGH!

This is often succeeded by me saying: I got you!!!

I’m pretty sure that: 1. I need to start thinking a little less horror-film-like for the benefit of the child, 2. The smiles we’re getting from other adults in the pool are not necessarily of approval.

More than once this week–and it’s only tuesday, mind you–I ordered ‘toe-may-toe’ soup with the man at the counter completely befuddled. The rhythm of the shop suddenly stops and most people look. At me. Ugh.

“You mean toe-mah-toe soup?”

“Yes, yes, yes”

Worse, though, last week, I asked the Head of my School at the University to refund a student for his gas.

(Head to desk)

I meant petrol, people. Petrol. I have no idea about my student’s level of flatulence.

This is not as large of an exhibition as I anticipated. That’s not necessarily a problem, but Kapoor’s best work is usually very large. That is, Kapoor’s sculptural work requires both space for the work as well as the audience. Therefore, in a few of the examples in the exhibition, there’s a bit of a sense of exploration and possible sculptural mock-up in medium-sized efforts. In particular, Kapoor’s 2005 ‘Negative Box Shadow’ made of a metal, human-size diameter circle wedged in red wax, was neither monumental enough for long-distance viewing nor diminutive enough to require close inspection. I didn’t know where to be with respect to the work, especially as it’s not quite spacious enough of a gallery space to offer thoughtful distance. I think, for the first time in my experience, I also felt overcrowded by security and interpretative staff who wanted to be sure that no one disturbed the work.

“Flashback” does offer an opportunity to examine the scope of Kapoor’s work—from mixed media and bright sandy pigment installations, to mirrors and metals as well as pigmented liquid set into motion. I appreciate this historical access to Kapoor’s oeuvre, even with only several items on display. Would I advocate that people travel from afar to view “Flashback”? Probably not. However, if you’re in Nottinghamshire, this is a must see exhibition. One must also visit Kapoor’s 2001 “Sky Mirror” outside of the nearby Nottingham Playhouse as well. It will elucidate the requirements that Kapoor usually demands of the space for his work. Further, as much as any work of postmodern installation art can clarify Kapoor’s critical ideas,“Sky Mirror” will aptly position audiences with questions about their place in Nottingham and this century.

However, watching my 1.5 year old son string a very long line of clear tape around the living room calls my wisdom into question. Then as he screams as he cannot get himself unstuck, I vow to buy the other kind when I’m at the shop next. This week. Definitely, this week.

After a month, you will achieve the ideal Christmas stilton. She said that one could probably still make a reasonable go at it now, however.

This sounds like a biology experiment that I can legitimately perform in the refridgerator and cause my partner distress. I get to continue to grow mould and pour alcohol onto it?! CHALLENGE ACCEPTED.

Kris: Oh. I am dressed.

Dan: Uh, you are? Aren’t those pajama bottoms?

Kris: No. They used to be exercise bottoms about seven years ago. They’ve changed from a dark black to a brownish color.

Dan: Like the backpack I had from the eighth grade! That was the best backpack. I wonder where it is.

Kris: I think I threw it out. It just did not make sense to bring that ugly thing across the Atlantic.

Dan: Exactly. I’ll watch Sam.

I’m sort of scratching my head about this. I should not have looked it up and lived in oblivion. At least it’s butter. It’s not as awful as the Iggy Pop/insurance thing.