Forever the fool

Mixed media abstracted

I took a Valium prior to having my first ultrasound-guided steroid injection into my left wrist. The intent was simple: to calm my nerves, as I feared the thought of the procedure.

There was no need for the pre-med before my right wrist injection. Being externally funded, it required only a short, easy drive from home.

Yesterday, however, my husband took me for an ultrasound-guided steroid injection into my right hip. This time, the radiology practice bulk-billed. I didn’t have to pay a $210 gap payment after my Medicare entitlement was applied, though it did mean a 40-minute drive each way to avoid the tolls. I hoped it would provide temporary pain relief and improve the mobility stolen by osteoarthritis.

Until recently, my need for medical procedures had been scant.

My blind trust in the UK’s National Health Service was forged during childhood, built on the back of my mother’s frequent inpatient hospital stays and our regular visits to the family doctor. Whenever Mom, me, and my two younger brothers had health issues, she would march us from our home in Capern Grove, left into Welsh House Farm Road, left again at Tennal Road, and right into Tennal Lane. Our destination was number two: the surgery of Dr Ezzat, who practised out of a converted interwar house built somewhere between 1920 and 1935.

Access was gained through a large timber gate, along a short path bordered by shrubs and trees, and up a couple of steps to an imposing Georgian/Art Deco portalled front door. Immediately inside, patients stood on immaculately polished, dark brown linoleum that ran throughout the building. We reported to a receptionist, summoning her attention by pressing a doorbell mounted on a cream-painted timber and obscure-glazed partition wall. A small sliding hatch would snap open; you announced your name and were told to go to the waiting room on the right.

The high-ceilinged, cream gloss-painted room had two heavily curtained windows to the right and another at the far end. There was a boarded-up fireplace to the left, and a centre table piled with ancient magazines, including Reader’s Digest.

Upon entering, you took your place on the first of many mismatching, dark Thonet bentwood dining chairs lining the room. If there were no chairs available, you stood. They creaked as you sat down and shifted your weight on the small, round, hard relief-patterned seats.

A buzzer proclaimed when the doctor was available for the next patient. The person sitting next to the inner door—on the same wall you had entered through—would get up, open the door, and vanish. Everyone else then moved along one seat, like a sombre game of musical chairs.

It could take a few hours waiting your turn in that gloomy, overheated room filled with crying babies and coughing, sneezing people. Finally, your chance arrived to proceed along a passage behind the records-reception room. You would knock on the doctor’s door, await a muffled ‘Enter’, and step into a bright, white gloss-painted room with a window overlooking the west-facing garden.

The doctor sat at a large, heavy, dark timber desk on the left, beneath a wall-mounted cupboard. You were invited to sit to their left. Dr Ezzat would turn to face you in a dark, padded leather swivel chair that had seen better days. ‘Mother, what can we do for you today?’ he would ask. This ageing, gentle, kind, and direct Egyptian man listened intently. He inspected chests with a cold stethoscope and checked tongues and throats with a routine ‘Say argh’—seemingly his remedy for all ailments.

Exiting past chrome-framed, glazed cabinets housing disturbing-looking medical instruments brought you right back to the entrance. When I grew older, I went to the doctor alone. I trusted him completely and felt safe in his care.

In my teens, however, that safety wavered. I was sent to Selly Oak Hospital in Birmingham for a blood test, likely to check for an iron deficiency. In those days, blood was painfully drawn with a thick syringe. Afterward, I couldn’t wait to escape into the fresh air. I rode the bus home experiencing violent, cold shivering. A profound, lifelong fear of needles was born.

Forever the fool, I assumed this hip steroid procedure would somehow be a similar experience to my wrists. I had researched what to expect and was somewhat surprised when I wasn’t asked to change into a gown. Instead, I was escorted by Damian, who was clad in mid-blue scrubs, straight into a large CT scan room. He briefly explained the procedure: local anaesthetic, followed by a CT-guided injection. I wondered what had happened to the ultrasound-guided version I expected.

I was asked to empty my pockets, leave my bag on a chair, and lie on a bed facing a doughnut-shaped machine. A similarly clothed second person introduced himself as the doctor’s assistant, and then introduced me to the doctor. They all wore the same uniform! The assistant reiterated the process, placed a pillow under my knees, and asked me to pull my loose-fitting shorts to my knees and slide the waistband of my underwear down. This exposed the intended site of the injection: my groin. Bizarrely, I had imagined the needle would go into the outside of my hip.

I was sent in and out of the scanner a few times while a screen above me flashed light shapes against a dark background. Next, a pale blue sterile drape was placed over the site. The doctor explained there would be a sting from the anaesthetic, followed by pressure from the steroid injection that might travel down below my knee.

Following an extremely sharp sting of the local anaesthetic, an unpleasant sensation bloomed in my groin, and I attempted to summon my bravery. Closing my eyes, I wondered if it was too late to back out—if I should just live with the ongoing pain and reduced range of motion. The machine was cranked up to full speed and volume. A strange, food-like odour permeated my nostrils, and I briefly wondered if I was cooking. Suddenly, my leg jolted as the steroid went in, sending my entire body into full tension. The doctor told me I was doing really well. I certainly didn’t feel like it, but he promised it would soon be over.

He noted that the pain relief might last for six to nine months, at which point I could have it repeated.

Once the assistant and Damian helped me sit up, my head went woozy. I told them I felt dizzy and started sweating. That teenage bus ride in Birmingham flashed vividly back into my mind. I was laid back down and asked to move onto a trolley—an unwise manoeuvre in hindsight, considering I was still recovering from carpal tunnel release surgery on my hand just three weeks prior.

I kept my eyes closed while being wheeled down a thankfully refrigerated corridor, praying they would not leave me exposed in the main waiting room. I was rewarded with a tiny, screened-off alcove in a side hallway where there was no rush for me to leave. Retrieving my phone from my bag, which had been dumped on my chest, I called my husband with an update. He was parked nearby and promised to pick me up whenever I was ready.

I gave myself five minutes, sat up, slid on my Birkenstocks, and navigated my way back to the reception area. Clinging to the counter, I waited for a form to sign, called my husband to say I was at the front, and waited to be collected and taken home.

Next time, I will definitely take a Valium beforehand.

Water abstract mixed media

On the back of the success of the fire oval and circle, I revisited water in the round. Above is the result.

I applied multiple washes in shades of blue, turquoise, and green.

I sprayed water onto the whole to create dappling and to soften the edge. Clean salt was added and removed twice to reinforce the darker splodges.

The ovoid version including less washes and recycled salt is included again below for comparison.

Jack’s bean

This is essentially green yellow brown no. 2. Inspired by a feather from my husband, the split on the left echos the way barbs separate. The shaft is represented by the right hand white curve from base to two thirds up.

The pristine blue ink outline was softened by spraying water onto the still wet Winsor and Newton watercolours.

Early on salt was added to the yellow area resulting in the undulations. After three layers of green and brown, salt was used to develop texture.

I am happier with the way this mixed media abstract painting came out. My husband said it looks like one of Jack’s beans that grew a mighty stalk linking his home with that of the giant.

Harmony in nature

Harmony in nature, abstract mixed media

Last Saturday, having gazed at the bookcase from my chair, I was inspired to create something using three ceramic pieces modelled on nature. A leaf, a shell adorned cornucopia, and a hyacinth leaf vase.

I arranged and drew around the objects in pencil then ink. I decided on purple for the cornucopia using the colour of mussel shell for inspiration, predictably green for the leaf, and finally orange for the vase.

On Sunday, I thought the shapes I had chosen worked well together as there was movement between them from the colours intermingling. Wishing to add depth and luminance, I added yellow washes to the orange and green and redid the ink outline.

After deciding the abstract picture was called harmony in nature, I added three black undulating lines to ground and orientate the central image.

Abstract space theme

I completed this experimental mixed media painting a month ago. The circles were completed first.

I masked the perimeter before adding the ink background. Finally, salt created blue shading in the black.

Unfortunately, some of the watercolour came off when the tape was removed.

Free stuff

multi media abstract foamed ovoids

I will brazenly prostitute myself for the chance of being rewarded with free stuff. I am delighted if a free cloth bag contains paper and pens. And boy do I hoard them.

Around a decade ago in Sydney, the local office supply company, Office Works were giving customers a bag weighed down with pencils, pens, pencil case, and bookmarks.

The pink, green, and purple ink pens used in today’s mixed media abstract picture are from that boon. I used the pens to outline the ovoids, washed over with watercolour and drew the shapes again on top.

The stamped circles were outlined in Lipton’s decaffeinated tea with paint added while wet.

Pink and green

In my mind during the week leading up to this week’s mixed media painting, I thought dark green flowing into yellow. When it came to mixing the colours yesterday, I loved the green so much, I felt pink was needed.

I started the painting in portrait to encourage the colours to flow and mingle.

Last week’s stamped rings were achieved by applying watercolour to the rim of a drinking glass with a brush. This week I dipped the edge of a deeper rimmed glass into paint in a saucer, resulting in more strongly defined circles.

My husband commented the colours looked subdued. I explained they were step one.

With the picture turned around to landscape, I added green, pink, red, and black bubbles. This draws out the creative process and extends my enjoyment.

As it was a warm sunny Autumn day, I took a break yesterday so that we could spend a couple of hours in the spa.

Coming back to the painting this morning, there was very little to add.

Enhanced abstract abalone shell

Enhanced abstract abalone interior

One of the artists I follow on Instagram posted a video of the painting of three green, purple, olive solid overlapping circles in portrait. Over this a stem and dense large leaves were added. Using a pen, lines and dots were added to alternate leaves. Then something else was added, I cannot remember what, probably flowers. I would have stopped at the three circles. I liked the simplicity of the forms, the colours, and the spatial calm.

Yesterday, I added green, yellow, and purple pencil bubbles to the abalone shell inspired watercolour from last week.

The original abstract abalone shell reflects my aim for an ‘ideal’ restrained and constrained abstract watercolour. The result evoked a meh response from me. Internally, I wrestled with the original is okay, I may make it worse if I do anything to it. Down the track, I would have earmarked it as a failure, turned the sheet over and painted on the back.

I now love the pimped up version and for the Internet, the addition of a Google Snapseed pop filter. It is sort of my first mixed media picture.