If you stand too close to a painting, you see only the broad brush strokes of colour.
If you stand too far back you are unable to see the details.
But at that optimum position you can see enough detail that the composition evokes a Wow!
The Director and his team all the way
to the social workers who are in regular contact with Paul and Zabeth
Bayne are too close to the painting of the Bayne family ordeal and
they see only the heavy impaso of the Baynes refusal to acknowledge
responsibility for their youngest child's injuries three years ago.
They see only the thick application of public exposure. They see
their own Ministry overtures as fair and generous and considerate and
they view the Baynes as uncooperative. They are so close that they
cannot see the nuances of the changing brush strokes over the past
three years. They see the Baynes determination, and unwillingness to
acquiesce to Ministry pressures.
|'Mary's Eyes' closeup|
Mary Polak, Leslie du Toit and all of the associates in Victoria are standing too far away to see the details. They cannot see that the portrait is really not one canvas but a diptych, two canvasses side by side, one showing the distress of a family separated and the other showing the joy at being together. The Victoria viewers have no appreciation for the pathos and expression of this family portrait. They cannot see the pain on the faces or the tears on the cheeks. Nor can they see pleasure on the faces of parents holding their children and happiness on the countenances of the children as they play with one another among the familiar items of home. Nor does Victoria care. And the crew in Victoria stand too far away to see the mistakes that have been making in creating the A side of the diptych while preventing the B side from being realized.
|'Mary's Eyes' by Ron Unruh 2010|