biography

Ejo #165 – Dad

My father died 20 years ago today.  His death fucked me up pretty good.  Actually, his illness didn’t do a bad job of fucking me up either.  Watching him deteriorate from a strong and vital man into a shell of a human being, someone I barely recognised, sent me plummeting into the deepest and darkest depression I’ve ever experienced.  The ten months of his illness were agonising, and the months afterwards were very much worse. 

Until my father died, work was a source of great comfort for me.  A place I could escape the gnawing torment of his decline.  A place of relief from the anguish.  I was working as a junior air traffic controller at Moorabbin, which is a busy airport full of training aircraft.  It’s chaos.  Delving into work, my focus was laser sharp and blinkered, all the better to not allow any thoughts of my father to seep into my consciousness.  I was depressed, yes, but I was functional.  In stark contrast, after Dad died, I became catatonic.  I couldn’t eat, I couldn’t sleep, I couldn’t do anything.  And I certainly couldn’t work. 

I was off work for three months, and spent all that time at our family home with my Mum and sisters.  I slept in the living room on a foam mattress which I made up every night, and packed away every morning.  Sleep was elusive; my head filled with swirling memories and jagged thoughts that were so painful I would just sob into my pillow for hours.  I was eventually prescribed sweet, merciful Temazepam to help with the debilitating insomnia, which was a life buoy thrown to me when I was drowning in a tempestuous sea of grief.  My waking hours were spent staring into space.  Aimlessly shuffling from room to room.  I was completely numb and I don’t remember much from that time.  I lost a lot of weight.  I rarely left the house.  I cut myself off from all my friends.  My father’s death knocked me out.  It was a king-hit that took me more than 18 months to emerge from.    

My mother never resurfaced from her loss.  When Dad died, a very large part of her did as well.  She never stopped loving him with all her heart, and she stubbornly refused to live a full life without him.  To my Mum, Kon’s ashes embodied his soul, and until the day she died she kept a lit candle beside his urn on the mantelpiece in the living room.  She said goodbye to him when she left the house, and hello when she returned.  Goodnight when she went to bed, and good morning when she woke up.  It was her way of staying connected to him, even though he was gone.  It was her way of keeping him alive, and that gave her comfort. 

My mother’s death hit me very differently.  Firstly, even though I knew she was sick, I didn’t know that she was at death’s door, so I was totally unprepared.  Secondly, she was my mother, not my father.  And thirdly, after Dad died, I still had my Mum around for another 15 years.  But when she died too, suddenly they were both gone and I experienced not just the loss of a very important person in my life, but the loss of my roots, my anchor, my family unit, and my very foundation.  And the loss was profound.  I didn’t get depressed, like when Dad died.  Instead I succumbed to an extreme and overpowering sadness, the depth of which I could never have imagined possible.  The sadness that I felt was not normal.  My whole life leading up to this event, sadness was a room on the ground floor.  Maybe when things got really bad, it went down to the basement.  But suddenly, when my Mum died, I realised that it was not the lowest, or the worst, that I could feel.  I learned that there were twenty cavernous levels below the earth that could fill up and overflow with my sadness.  It’s like when people say you don’t know how much love you can truly feel until you have a baby.  Well, maybe you don’t know how much sadness you can feel until you lose your mother. 

I’ve spent the last four and a half years since my mother’s death fiercely grieving her.  I miss her deeply and still sometimes cry myself to sleep when it just hits me in the chest that she’s gone and that she’s never coming back.  I think of her every single day.  I see her picture on my bedroom wall every single day.  And every single day something reminds me of her, and I’ll say emphatically, “I love my Mum”.  Because I really fucking do.    

Conversely, in the last four and a half years, I have hardly thought about my Dad at all.  Deplorably, I haven’t had any room in my heart for him.  And I feel so incredibly guilty that the all-consuming grief I feel for Mum has completely supplanted the grief that I was holding for my Dad.  And of course, intellectually and emotionally, I know (I know!) that I still love my father and I know that I miss him and I know that I grieve for him.  And of course it’s not a competition about who I love or miss the most.  But I am grateful that this, twentieth anniversary of his passing, is an opportunity for me to once again focus on my Dad, and to once again make some room for him in my heart where he belongs. 

My parents were very different people, and had very different parenting styles.  My Mum was all heart, loving, open and warm.  My Dad was more outgoing and filled the room with his personality… which could sometimes be a lot.  He had been raised in a household where the man was in charge, the man was the be-all and end-all, the man wore the pants and the man had the last word.  My Dad’s gentle nature prevented him from becoming the kind of authoritarian parent that his own father was, but still he could be pretty strict and uncompromising, especially when my sisters and I were teens.  I think that when his three daughters started growing up, it triggered an internal clash between his easy-going personality and the stern parental conditioning he’d grown up with.  And this started causing a rift in our family.  Being the first born child, being the one for whom rebellion simply wasn’t an option, I accepted all the rules.  I was the good girl.  And I’m grateful to both of my sisters, for being significantly more ballsy than I was and smashing down the barriers that had been put around us.  I’m grateful because, even though it caused a great deal of heartbreak and strife and tension in the house at the time, it was the catalyst for our father to change.  As a parent, and as a man. 

I have to give my Dad props for being able to shed generations of toxic masculinity, and to look inwards and realise that he no longer had to be so overprotective and controlling of his daughters.  He understood that if he didn’t make changes within himself, he was at risk of pushing us away, or even losing us completely.  And he changed.  He just did it.  He softened, he became more accepting, and he became more affectionate and open and loving.  He became more himself.  It was a truly remarkable transformation.  Over the years, my relationship to my Dad evolved from worship, to reverence, to fear, to shame, to disrespect, to ambivalence.  And then I went back, and I got to know him as a person, as a human being.  And I started loving him again.  And finally, at the end, after all that, we were friends.  I’m so grateful that we had the opportunity to complete that circle while he was still alive. 

I have so many beautiful memories of my extravagant and irrepressible father, whose extraordinary zest for life left an impression on everyone who knew him.  Even though it may seem trivial, a memory that I hold very dearly is of how gentle my Dad was when he put my hair up in a ponytail when I was a kid.  As opposed to my Mum’s confident and efficient method of whisking my hair up and quickly twisting the hair-tie around the ponytail, my entire head fit into my Dad’s enormous hands as he tenderly stroked my hair, trying so hard to not pull even a single one as he lovingly gathered it up on top of my head.  And I knew, I just knew, even then, as a five, or six, or seven year old, that it was a special moment between us.  I cherished that moment when I was a kid.  And I cherish it now. 

One family story that became legend over the years demonstrates how meticulous and fastidious Dad was about certain things.  He always took such great pride in the way that he looked, and in particular the clothes that he wore.  His sisters, Dimitra and Sophia, recently recalled the story for me, setting the scene at a large family dinner.  Dad, Mum, aunts and uncles and friends of the family were all there, gathered around the table.  Someone was carving and serving a large roast chicken, and a few droplets of gravy splashed onto my Dad’s shirt.  As was his wont, he became very upset.  Everyone there was accustomed to witnessing Dad’s over-the-top reactions whenever he got even a minor stain on his clothes.  But this time, apparently, he became so melodramatic about it that my Aunt Sophia (who was up to here with Dad’s histrionics) lost her patience, and lost the plot.  Wild-eyed, she pushed her chair back, walked around the table to where my Dad was sitting, grabbed the chicken drumstick off his plate and furiously started rubbing it all over his shirt, yelling, “It’s just a fucking stain, Kon!!!”  As you can imagine, everyone was so shocked at the unexpected insanity of the moment, they all burst into laughter.  Everyone, that is, except my Dad, who sat frozen like a statue, staring straight ahead with a stony look on his face. 

Hello police, I’m dressed to kill and I’d like to report a murder.

Thinking back, I remember lots of stories from my Dad’s youth.  Like the time a tree he was standing right next to was struck by lightning.  Knocked out by the impact, my father lost his sight and couldn’t see for hours afterwards.  When his eyesight returned, he went back to the tree, which had been cleaved in two, and found a stunning gemstone in the cradle of the split trunk.  The stone was a brilliant azure blue, and I remember seeing it and holding it and being in awe of it when I was a kid.  My Dad treasured that gemstone, and I wish with all my heart that I knew where it was. 

My father’s family were so poor that his parents couldn’t afford to feed all six of their children, so when my Dad was 17 years old, a deal was struck to foster him out to some neighbours, a rich family that lived just down the road.  Until then, my father had never even worn a pair of shoes.  So the pride that he took in his clothes later on in life makes total sense to me.  The couple that “adopted” my Dad were in their sixties and didn’t have any children, but they promised to secure him financially and to love him like their own.  The first few months went smoothly, and Dad helped them on their farm and generally did whatever was needed around the house.  He even used to drive the couple to church every week.  In a village where most families couldn’t even afford a bicycle, this was a big deal. 

After a while though, the couple started talking about weddings, suggesting that Kon marry their niece, but he wasn’t interested.  So the old guy started imposing a curfew, saying that my Dad (who was 19 years old by that time) had to be home by 10pm on Saturdays.  Obviously this was total bullshit and Kon justifiably stayed out until the wee hours of the morning that first weekend.  He did the same the weekend after.  And on the third weekend in a row that he came home late, he found the door to the house locked.  And that was it, that was the end of the deal.  That Sunday morning, his younger brothers and sisters woke up to find Kon sleeping on the floor next to their beds, and the whole family rejoiced that he was finally back where he belonged. 

Beloved siblings (Back row: Roula, Kon & Christos and Front row: Stavros, Sophia & Dimitra)

Kon Stathopoulos was a singularly brilliant man.  He pulled himself out of abject poverty in Greece, and created a whole new life for himself in Australia.  He completely rewrote his destiny.  My Dad was a dreamer and a big thinker!  Sure, he drove trucks, and then later taxis, but my Dad was too big to be a taxi driver forever.  He worked some shitty jobs to make ends meet, but in his spare time he was an enthusiastic entrepreneur.  Bow ties, light up yo-yos, silver screens for cars, decorative ceramic tiles.  He tried a whole bunch of innovative business ideas before finally starting his own company, Plastercraft Contractors. 

A one-man show, my Dad took solid plastering to the next level, turning it into an artform.  Within just a couple of years he had built such a great reputation in the industry that he was asked to singlehandedly restore the exterior of a large church in Ballarat.  He was also commissioned to create a new plaster cast emblem for the Red Eagle Hotel, in Albert Park, the very same bar where Kylie Minogue had her 21st birthday party!!!  He then landed the extremely exclusive job of re-designing and building the beautiful and iconic fountain at Government House in Victoria.  Every year on 26th January, Government House opens its doors to the public, and thousands of people get a chance to peek inside the stately home and to roam through the gardens.  There are also monthly tours of the 11 hectare garden which anyone can book, so why not go along on one of these tours and see for yourselves the amazing sculptural achievement created by my very own father. 

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The current phase.

Later on, due to the success of his business Dad expanded into larger scale projects like apartment building construction sites.  He often invited me to join him and earn a little bit of extra cash, and I once hit the jackpot, making $400 in one week being an elevator girl, asking big burly construction workers wearing hardhats, “Which floor?” for eight hours a day.  It was here that I first saw the man that my father had to be when he wasn’t with his family.  For the first time, I heard him casually throwing around words like, “fair dinkum”, “bloke”, “smoko”, and I even heard him say “fuck” a few times.  My brain exploded.  As a 21 year old I’d never heard my Dad swear at home, yet here he was cursing with such ease and regularity.  It was surprising, but also kind of nice, to discover this other side of Dad that I’d never seen before.  It added yet another dimension to him. 

My Dad left his mark on some pretty important buildings, but his passion project was building a holiday home for our family in Ancient Korinthos, in Greece.  The construction took him several years, and was (mostly) finished just before he was diagnosed with lung cancer in 2002.  His dream was for the five of us to holiday there, as a family.  But tragically, he never lived to see that happen.  The house is still there, an empty monument to one man’s vision. 

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The dream. With Greece’s only Hill’s Hoist.

I have a cute little blue urn on my bedside table, which holds a little bit of my Mum’s ashes and a little bit of my Dad’s ashes all mixed together.  I thought that having my parents close to me when I sleep would provide me with some sense of closeness to them, like my Mum used to get from having Dad’s ashes near to her.  But I was wrong.  I get nothing from it, except an academic understanding that my Mum and Dad’s cremated remains are next to me when I’m in bed.  I have no response to it at all, emotionally.  Sometimes I’ll shake the urn, and listen to their bone fragments rattling inside.  I know what’s in there, I know that it’s them, but even so, there’s no connection to who they were when they were alive.  I wish there was. 

Hello Mum and Dad, it’s me, Chryss.

My Dad really shaped the first 32 years of my life.  His first job in Melbourne was in the inner-city suburb of Carlton.  So naturally my father was a Bluebagger.  Therefore I am a Bluebagger.  Dad inspired my love of tennis, and I played competitively for years, even aspiring to turn professional when I was sixteen.  He taught me all the tricks of how to play a solid game of backgammon.  When I was 15, he taught me how to drive a manual in a rusty old Land Rover on a hilly farm with no roads.  And once I’d mastered that, he took me to an abandoned industrial estate in Springvale to learn how to drive his crappy work van. The one with the dodgy clutch and the sticky column shift.  And once I could drive that, I could drive anything.  I’m pretty sure that the reason I love to throw epic parties (and I really do love to throw epic parties) is because I inherited my Dad’s passion for entertaining, and showing people a good time, and living large.  It’s funny, what gets passed down from father to child.  Being a sports fan can be one of those things.  Wanting things to be just right, might be another.  A house in Greece, another still.  But maybe a zest for life and knowing how to dream big are the most important things a man can pass on to his daughter. Thanks Dad.

Ejo #164 – The Extraordinary People I Know: Mear

Some of you might remember the opus I wrote on NFTs about a year ago.  Even though the heat on NFTs has cooled a little, I’m still involved in the scene, especially on Twitter which has a very strong and vibrant NFT community.  My feed is often filled with gorgeous artworks, posted by artists trying to get their name out there.  About ten months ago I was scrolling Twitter and came across an absolutely stunning piece by a Chinese artist called Mear.  I commented on it, we chatted for a while and got to know each other a little bit, and I decided to buy the NFT.  In fact, I fell in love with the entire series and bought all six pieces.  It feels very special to have supported Mear as she was starting out in the NFT world, and over the months we have come to know each other quite well.  One of the reasons I love NFTs as much as I do is that as a collector you can discover art that you never would have otherwise been exposed to.  And for Mear, as an artist, the converse is also true.  Would she have sold the entire collection of her Swaying series to an Australian woman working as an air traffic controller in Dubai if it wasn’t for NFTs?  I highly doubt it.  I feel very honoured that Mear took time out from her very busy schedule as a full time artist, teacher and prospective PhD student to answer a few questions about her art and about herself.  Mear’s English is way better than my Mandarin so we conducted our interview in English, with a little help from Baidu and Google translate.  I do hope you enjoy our conversation as much as we did. 

Thank you so much Mear, for taking the time to talk to me about NFTs and art, and in particular your specialty, Chinese painting.  I absolutely treasure the six NFTs in my collection that comprise the Swaying series.  Can you tell me the inspiration for the series, what each one of them means and why you chose these individual names: Imagine, Disconnected, Vague, Praise, Flourish and Indigo?  
The Swaying series is based on the practice of using heavy colour to create small paintings.  I was inspired by some wildflowers on the side of the road.  It was a rainy day, and the wildflowers were swaying, east and west, causing the water on the petals to produce a magical refraction effect.  I imagined the flowers floating in the buoyant sea, swaying in the water and creating beautiful ripples.  So, I began to draw these pictures from my imagination. 

The Swaying series is a dynamic description of petals floating in water.  The Chinese word for each of the paintings is very simple, but very clear.  Imagine is the first painting in the series, and represents the fluctuation of my creative thoughts.  When I was a child I remember watching a cartoon called Bug Division, and a scene from that impressed me very deeply.  So I used rattan yellow and a little gold to try to recreate the gold and black space from the TV show. 

Imagine

Disconnected describes the camellia at night, a bit like smoky moonlight.  Vague uses the purple tone that I like, but purple is very difficult to show, so I added some clam powder to foil to make it stronger.  Praise depicts the summer forest, with a variety of different colours of leaves.  I added the rock colour, to make it look even more gorgeous and thick. 

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Indigo depicts a four-leaf clover floating in the lake in winter.  The lake is usually blue, and the water is very deep, but clear.  And Flourish depicts a variety of colourful flowers blooming in spring.  It represents the Chinese people walking in the flower filled street during the Spring Festival.  Very rich and beautiful, it indicates strong vitality.

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You hand painted each one using ink and brush on paper, and digitally added the Chinese characters in the background.  What do the characters say?  Do they have a special meaning?  
The calligraphy pictures in the background are high-definition pictures I downloaded from an app called China Treasure Museum, which are all very good works by famous masters before the Qing Dynasty. 

For example, as the background in Imagine, I chose a short section from Zhu Dao’s Seven Frames of the Interior Classic from the Qing Dynasty, which is a work mainly about the preservation of health.  And in Disconnected, I chose a paragraph from the epitaph of Zhang Sizhong of the Liao Dynasty.  The epitaph is written for the dead, recording the names, titles and life stories of the deceased.  These pieces were chosen as the backgrounds because the calligraphy is really very good, and worthy of our observation and study.

I’d love to go back to the beginning, if that’s OK.  Your formative years, your childhood, where you grew up, how you grew up. Were you raised in an artistic family? 
People who know me well are aware of my cheerful disposition and how I love to crack jokes. My mother often refers to me as the “happy nut” in our family. However, in public, I tend to come off as introverted and shy, speaking very little. This is for two reasons. Firstly, I’m near-sighted and don’t like wearing glasses, making everything seem blurred. This causes me to overlook many people and things, but it also makes me more focussed on myself, rather than paying attention to external gazes and discussions. Secondly, my dad taught me from a young age that, “The more one talks, the more mistakes one can make”, so I’m always extra careful when I speak or act outside.

I suppose my personality could be classified as a people-pleaser.  Much of it has to do with my parents’ subtle influence. My sister and I are twins, and we were born when my father was quite old, so he’s always been particularly protective. Even to this day, he often warns us about dangers (which I understand, considering he grew up in a time of turmoil, poverty and hardship). For instance, he advises us to be cautious about falling when using an elevator, to keep looking behind us when walking in case someone is following, to not accept food from strangers and always to bring him along for job interviews (though I’ve never actually done so).

I was born and grew up in Guangzhou, China. Cantonese and Mandarin are my mother tongues. My English education began with my mother, who served as my father’s translator in the 90s; she isn’t so proficient now due to lack of practice. My father only speaks his dialect and isn’t keen on learning new languages. From an early age, he taught us calligraphy and seal carving, but because I was too playful, I didn’t learn calligraphy well, which I regretted later in university (where I was even more playful, haha!). We visited parks every year for our birthdays, so it’s fair to say we’ve explored all the parks in Guangzhou. I joined a sketching training camp one summer in middle school which meant I woke up at 5am and finished at around 5pm every day.  And in the final semester of high school, I attended a painting training camp.  My sister and I were admitted to one of China’s top art colleges. Traditional Chinese painting is something that I picked up in university and have been studying since.

I have to admit that my dad is a good teacher.  His knowledge is extensive and he is incredibly smart.  At my graduation, he was able to discuss poetry and classical texts with my tutor for an entire afternoon.  He has indeed taught me a great deal.  However, he can be too dominant, overly protective and he limits our actions a lot.  By the way, he is a Leo, and I have decided never to marry a Leo man, haha!  

I enjoy discussing artistic concepts and creative processes.  And I also really enjoy painting and I love the surprises that uncertainty brings to my work.  If the surprise is upsetting, I laugh it off, change it and make it beautiful.  Its beauty then reaches others who come in contact with it.  If the surprise is just right, I am overjoyed and celebrate.  

Can you tell us about what you learned at art college?  Have you been working as an artist since then? 
When I was admitted to college, I chose to major in Chinese painting, which is completely different from sketch and colour. It is the pursuit of two-dimensional performance, such as painting figures in exquisite black, white and grey. The description of the painting “object” must be very accurate and careful in order to create a three-dimensional sense from it. Traditional Chinese painting pays attention to artistic conception. Artistic conception is hazy beauty, or transcendent beauty, from limited to infinite.  The concept of “mood” is richly embodied in Chinese painting. The theme, its composition, depiction, emotion, and overall arrangement must all convey this mood, sometimes described as the soul of a painting. Chinese paintings are often called silent poetry. The harmony between an object’s characteristics and the artist’s emotions is what gives a painting its poetic essence, creating art that intrigues and resonates. A painting that deeply conveys emotions and has strong expressiveness captivates its viewers.

Traditional Chinese painting is done with a brush. The front of the brush can be long or short, and the amount of hair will affect its water absorption. Therefore, there are often uncertain factors when using a brush, so strong control ability is needed. When I was an undergraduate, the teacher let us learn landscapes, figures, flowers and birds, and then choose the direction we wanted to further our study. I chose landscape painting. To draw a landscape, we must first practice the basic elements of the painting method, such as: trees, stones, clouds, water flow, etc. And then, we do a lot of copying. We copy the excellent traditional paintings of ancient times, for example Wang Meng’s Seclusion in Qing Bian, Fan Kuan’s Journey to Xishan and Huang Gongwang’s Residence in Fuchun Mountain, etc.  

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Huang Gongwang’s Residence in Fuchun Mountain

And then, we go back to sketching again.  Every year, we follow our teachers all over the country to sketch.  Places such as Taihang Mountain in Henan Province, Tiantai Mountain in Zhejiang Province and Jinggangshan Mountain in Jiangxi Province.  And finally, the creative stage.  Creation stage is the hardest; to draw a picture from present life, and to combine the techniques learned to make the performance work.  In this process, I often experience long periods of self-doubt because a brush stroke might not meet my expectations.  It’s just a very struggling process.

Taihang Mountain

I am a professional artist, but not full-time, I am an art teacher for children because I need a stable job to guarantee my life.  My teacher at college told me to “Live first, and then pursue the ideal”.  I am an idealist in the bottom of my heart and a very romantic person, but I also know that I must face reality. 

Two of Mear’s students earnestly creating their masterpieces

How did you first hear about NFTs, and how did your classical art training translate to digital art? 
I heard about it from my friend.  At first, I didn’t care about it, but later, when more people discussed it, I gradually learned more and then became interested.  I draw with pen and paper and then take photographs of the artwork, which I adjust through the computer to form an NFT.  I use simple retouching tools like Sketchbook, because I feel that the computer is hard to operate, at least for me.

What advice would you give to artists who know nothing about the NFT space, but are interested in trying it? 
At present, I often mention NFTs to my classmates, but because we have to use a VPN to get access, many people are not willing to really understand it.  They think it is a new field, or that it is very troublesome, and that it is better to just draw their own paintings.  I would like to say to the artists who are interested in NFTs, that you are very welcome to the world of NFT. Although it is a little difficult to cast into it, isn’t it good to share your works and to find people who like them?

I agree totally, and I’m so glad that you did join the NFT community! Finally, Mear, can you please share with us what you are working on at the moment? And what are your wishes and hopes for the future? 
At present, I am drawing some large landscape paintings, and plan to participate in more exhibitions held by provinces, or by the state. Of course, it is difficult to get the qualification for these exhibitions, but I will try my best. For the future, I hope to become a successful professional painter, just like the famous painters in history.

If you are interested in checking out (and even better, buying) some of Mear’s work, you can find her art at OpenSea and Foundation marketplaces.

Ejo #93 – My Wallet

In 1995, my boyfriend gave me a beautiful men’s wallet for my 24th birthday. I fucking loved it. It was unique, functional, I’m pretty sure it was expensive, and it was a giant middle finger to the kind of birthday present girls were “supposed” to like. I still love that wallet, and now, because I’ve had it for over 22 years, I am also sentimentally attached to it. I love it because after all these years together we’ve become so close we finish each other’s sentences.  I love it because it’s always been there. It’s travelled with me to dozens of countries and endured four crappy jobs before finally settling in to the right one. It’s witnessed four other boyfriends come and go, and one amazing husband stick around. I love it because it’s seen me broke and it’s seen me flush. It’s held deposit cheques for my first car and my first house. Money that my Dad left me when he died. Money to buy food for handouts here in Dubai. Maxed out credit cards that have kept me awake at night and banknotes in eleven different currencies. You know, as mementos

Someone recently asked me what all the crap in my wallet was, referring to my large collection of car wash vouchers. Eight vouchers used to score you a free car wash – in 2001 – but I never actually got around to using them and over the years my poor wallet has stretched out to accommodate their bulk. When I finally decided to get rid of them, about ten years ago, I realised that my wallet had ballooned so much that my cash had no chance of staying put and just kept slipping out. So the vouchers resumed their position, filling the cavernous space they had created. We’ve all accepted that this will be their final resting place.  My wallet can no longer function without them, and thus neither can I.

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Need somewhere to write a list?

My wallet has contained love notes and phone numbers from fascinating strangers. It’s held receipts, IOUs, shopping lists and lists of things to do. It safeguards passport photos and photos of dead people, photos of people I love. It keeps my Australian sim securely hidden away when I’m in Dubai, and my UAE sim safe when I’m travelling. And, because I’m a hoarder, it still hangs onto every single driver’s license I’ve ever had. It holds my organ donor card, my Blood Bank donor card, and my most recent acquisition, my first aid license. My life is essentially contained within the smooth, dark brown, leather pockets of this wallet.

 

But let’s be real. The thing is over 22 years old. I don’t know how old that is in wallet years. Ancient. The stitches are falling apart at the seams and the Oroton label has all but completely worn away. The zipper on the coin pocket broke about fifteen years ago, and the whole goddamn thing is so distended by filler crap that I can’t even actually button it closed anymore. Let’s face it, this wallet is an old, ugly, worthless piece of shit. And I really, really should just throw it away and get a new one.

But I think we all know, I never will.

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‘Til death do us part.