Interview with Sacha Waldron, 2013

When Daryl Waller finally agreed to give me the interview the snow had already started to melt and tufts of brown green grass had begun to appear all over the forest. Crows with grey patched tails populated the tree's, squawking. They reminded me of the black and white picture postcard of the children, bright hungry eyes, tearing fleshy strips from crow carcasses with their teeth.

We agreed to meet in the Italian restaurant in the village, the only restaurant. “I'm a really big fan of your work” I said as we sat down. An episode of The Simpson's dubbed into Russian played on the television behind his head. “Sure” he said.

“Lunch is finished” the waitress told us, “we only have soup”. It was sorrel. Speckled bright green with bits of grey brown bobbing up and down. I tried to start the interview, “I'm interested in your theories of naturalism, the way your drawings seem to ...” Waller interrupted me. “What do you suppose this meat is?” “Um..” I inspected my plate, “I guess that's pork and...” I hooked a sliver on my fork, “maybe... liver?” “I hate liver”. Waller pushed his plate away and drained his wine, “I'm going for a cigarette”. He pulled his heavy coat around him, the door clicked shut.

I watched him from the window. His eyes were fixed on something. In the distance, two sheets of ice had collided forcing each other upwards, forming a lone craggy ice-berg out on the lagoon. At its peak I could just make out a dark flag, as if it had been claimed by someone before it sank, melting back into the water.

Sacha Waldron
Nida Art Colony, Neringa, Lithuania, March 2013.



Photo Nik Strangelove, London, 2015