It’s a slow process. I don’t just mean the making of the #100DaysInDinan project: combing through old photographs for inspiration, sketching a rough idea onto my antique postcards, going over it in pen, painting it. Then finding old pages from magazines, tracing onto them around the envelopes that had held the postcards for a century, folding them into place, then copying addresses onto paper and pasting them onto the front of the envelopes…
All this takes time, and perhaps in retrospect one a day was too ambitious.
But the real time is spent navigating memories. As I paint I walk my memories like I walked those old, cobblestoned streets, a hundred times over, during the 100 days we lived in Dinan.
As I sketch the outline of a fresh baguette, I am back there again, standing outside Boulangerie Banette with my children, tearing the still-warm loaf into into smaller pieces to share, and the smell is the best in the world: nutty, malty, a hug.
Scout announces, “I can’t go a single day in the world without this bread,” and from that day on, our baker Mohommed keeps one or two baguettes aside for us - and often throws in some free croissants and Nutella crepes - in case they sell out before we get there (which they often do).
Now as I paint I am climbing the steep hill to the castle ruins in the village next door and I can feel the muscles in my legs burning all over again. (And oh! That wicker picnic basket is heavy! Why did I think a picnic blanket was necessary? And did we really need that much water?).
My memories tumble onwards, gaining momentum like my children rolling down a steep and grassy hill on a sunny day, squealing with laughter. I think about the friendly grey cat at the ruins that had so enchanted Ralph. He sat among the wildflowers inside the crumbling castle walls and patted the wild cat while it purred like a tractor, and I dug into the bottom of that heavy wicker picnic basket for the hand sanitiser I was sure I’d packed somewhere. We learned that French cats don’t much mind if your French is somewhat lacking.
I paint my feet in canvas shoes, dangling over the canal on a quiet jetty. As I do it, I taste again the honey and walnut cake I’d baked the day before, and carried with us on our walk. I remember throwing crumbs for ducks that wouldn’t come, and watching the tiny bubbles and rings in the water made by unseen fish coming up to feed.
On comes the summer’s day we spent in nearby Saint Malo, digging and splashing in the beach all day and then running the whole three kilometres back to the bus stop just in time for the last bus home… only to discover the timetable had changed the day before, and we were trapped. So we trudged the three kilometres back into town and found a little hotel. We ate bananas dunked in yoghurt for dinner and it was hot, so hot, so we all slept in our underwear on a big bed. I left the window open all night and watched the moon rise slowly over slate rooftops and terra cotta chimney pots as my children slept.
It slows me. I start with an anecdote but all too soon I am lost in a fully-fledged memory, and follow that path deeper and deeper into the wilds of nostalgia.
It washes over me, a longing to be back inside those slower days once more. I was mindful then, truly mindful, consciously taking in everything: watching it, feeling it, tasting it, and appreciating it. Committing it to memory as best I could, not wanting to miss a thing, not wanting to lose any of it.
So when I paint and I am slow, I don’t mind. A hundred memories is taking me more than a hundred days to record, but this project has become exactly what it set out to be: a process in gratitude.