Bea made her living as a courtroom sketch artist, capturing in minutes the highlights of proceedings. Her renderings were exact but not clinical. She had a knack for seizing the flicker of emotion, highlighting it with a shadow or a hint of colour to the cheeks. She was a consummate portraitist and, as any artist, was always looking for a challenge. She had two sets of notebooks: the official and the personal. She did her work, chronicling each witness and, in effect, describing the proceedings. If a picture is worth a thousand words, she was surely a very quick typist.
Once her official duties were taken care of, she would often choose one person who offered challenges of some sort. She would try and feel that person from the inside. She looked at people in the general seating for inspiration. Some were regulars, others were family or interested parties. In publicized cases, there were more spectators, drawn in by mere curiosity.
One day, she was assigned a case involving an attack on the Muslim community. Bea delighted in seeing a number of veiled women as they were deceptively expressive yet more challenging to depict. She chose a young woman, whose eyes were the only visible feature. Wanting to preserve her anonymity, she chose not to draw her eyes but to focus on the tension in her shoulders, and the way she carried her head which betrayed the intensity of her concentration. Bea could not help but create stories for the people she sketched. Surely, this was a young woman. Her moves were quick, her body supple under her cloak. Bea was able to match the emotions shown by slumped shoulders or head held high to precise statements in a case. The story she invented mirrored the case – the young woman’s sympathies were for the accused, a woman suspected of having murdered her child who was being abused.
Her unwitting model was old enough to recognize when someone was wrongly convicted. She was clearly drawn to the case, not missing a single day. Like most cases, people typically arrived according to a set schedule and sat roughly in the same place. She had become familiar with Miss A., as she called her privately, and came to rely on her presence in order to start her day. She was almost a talisman, or a good luck charm.
She had become so engrossed in her personal drawings that she took to sketching in the official and personal notepads side-by-side, timestamping both as she went along. She learned so much from that study that she applied the technique to her official court sketches and made them even more valued. Reporters came to her and asked her to extrapolate from her observations either to predict public opinion or the jury’s position. They noticed how accurate her predictions were and started arguing for or against according to her sketches, which made for lively debates in the press.
One day, Bea noticed that someone was drawing her as she sketched. It was someone from the general public. She felt a professional curiosity and went to compare notes at a recess. It turns out that artist was only sketching hands. Her own were a blur of circular moves. The depictions were amateurish and all the more interesting. They were pure instinct and had a definite naivete about them. The artist had no formal training but was intensely curious and an avid learner. His line showed energy fields as he felt and saw them. Bea saw how he was sensing the invisible and adding yet another layer of understanding. They started sitting side-by-side and learning from each other. As his drawings became more precise, hers were pared down to their simplest expression.
Her official work had always relied heavily on the accuracy of the faces, but she could see how distinctive and eloquent hands and hand movements were. She still drew faces accurately but added more details in the hands that told the story. People knew to guard their faces; they were much freer with their hands.
When arthritis attacked her fingers, she did not despair. Instead, she took it as yet another example of storytelling. Her fingers were tired of chronicling bad deeds; they longed for restful topics. She retired from her lucrative work in the court. Indeed, her protégé took over after years of learning by her side. His own style was still naïve, almost cartoonish. In a world where the general public was looking for dumbed-down news, his simpler tales sold well. She was glad to be rid of a job that had started feeling like a chore. When her protégé had last drawn her hands, the lines were square and almost static, the energy imploding.
They met occasionally for lunch where he plunged into detailed descriptions of expressions and caustic descriptions of court happenings. Though she recognized in him the passion she used to have, she now felt strangely detached from that world. When she’d retired, she had felt grief at leaving the life she had known, privately doubting her decision. Paradoxically, an intense freedom had befallen her. She was free from rigid schedules and set forms. A world of new interests opened before her. She became daring in her desires, forceful in accomplishing them. She had nothing to prove and nothing to lose. Because of her arthritis, she was no longer able to quickly sketch. She had to be deliberate and choose how she would use the few hours without pain that she had each day.
She decided on gardening. With the same precision and attention to detail she had always shown, she established a schedule. However, she quickly realized that success depended on her attitude and intention. Her first attempts resulted in crooked vegetables and stunted growth. As her awareness and comfort levels grew, her fingers sensed the seeds’ personalities and energy fields. The interplay of her growing ease and inner peace translated into larger and tastier crops. “Hands,” she thought. All this time they had been hiding in plain sight. When hands covered faces, covered eyes, covered tears, people tried to pry the fingers apart. But all this time, the body was trying to show the hands.