AT THE CRACK OF DAWN, I descended the steps to make my daughter an omelette before she went to school. My feet slid across the smooth wood floor toward the kitchenette. I began to make preparations. I liked to get the frying pan sizzling hot, gurgling with butter before adding the eggs. When I turned on the light, I could see that she was back. She told me I could go.
“I cut short my trip,” she said. “You can go now.” “But I promised her an omelette,” I told her. “A mushroom omelette. She was looking forward to it.” “I have some workmen showing up soon,” she said, reaching out to stop my hand from cracking an egg. “Would you just go? Please?”
I took a step back. “No,” I told her. “I promised her an omelette, she’s having an omelette. I am making her an omelette today.” There were animals all around the house. Cats, dogs. Out on the terrace, I could see some musk oxen lazing in the morning sun. “Why do you have musk oxen?” I asked. “This is my house!” she said. Then, with a more urgent tone, “Could you leave?”
There came a knock at the door, some workmen came in in white overalls and white painter’s hats. They set up a ladder and began to prepare to paint the ceiling. But after them marched more men. Some younger types, who looked like boy band singers. Others gray, with beards, speaking of literature. They began to fill the house from top to bottom with their chatter. These were her men. One of them looked like Ben Affleck, the actor. “You didn’t tell me you were dating Ben Affleck,” I said. “That’s Tarmo,” she said. “He just looks like Ben Affleck.”
Soon the house was brimming with other men. I had just wanted to make an omelette. “You have to go,” she said. “You’re no longer needed here.” “But it’s my child. I have a right to make her breakfast.” “Would you please just leave?” she implored me. I did no such thing. Instead, I reached for a bottle of moonshine, drank it down in sad, heavy gulps. Soon I was stinking.
“You fool!” she said. “How are you supposed to drive when you’ve been drinking?” She sank into a chair, sat opposite me. She became her younger form now, blonde, with those crazy eyes. “You need to find another woman,” she told me. “It’s been long enough. That will make everything better.” For a moment, I followed the arc of her logic. Then I realized her logic had led me here, to this house. “What are you, some kind of oracle?” I said. “You know, I gave you everything,” she said, with a slight disgust. “Without me, you’d be back where I found you.”
“Fine then,” I said. Omelette unmade, I crumpled through the door into the morning light. I felt like garbage. Pure, limping garbage. And I had no idea where this place was. For a moment, I was reminded of the rainy streets of Beijing, and how I had been lost just like this, and a friendly Chinese had waved to me through a misty cafe window. I felt free that day in Beijing.
IT WAS A TOWER. The Ikea Tower. Why it was called that was a mystery. No element of it was made by Ikea. Maybe some of the furniture in the conference room on the 80th floor. The tower was designed to move with the wind. To stand in its conference area was to feel as if one was flying. We were so high up in the air that I couldn’t see the ground down beneath the cloud cover. The movement of the clouds between the legs of the tower made it seem as if we were a ship upon white seas. When I rode the elevator to the conference, I always made sure to look at the buttons. You know how terrified I am of heights. I watched those red buttons.
Later, back at my hotel, I slept in. It had been a long week, and I woke up around noon. I knew I was going to be late for the press conference. Where even was this place? My mind said it was Helsinki, but it looked like Amsterdam, with some elements of Copenhagen stitched in. Of course, I wound up talking to the redhead at the front desk, with her silver earrings and silver brooch. She sparkled like a Celtic warrioress. That went on for far too long, and so I was doubly late. I ran to catch a departing gondola and rode it through the city. Its doors opened and I got out, but I was on a terrace. The furniture was certainly made by Ikea. Simple, white.
Young Scandinavian Arabs were seated around, playing chess.
I got back on the next gondola and was carried to the canal, where I got onto a crowded ferry. I could see the red-brick buildings of the town hall and the national treasury. I tried to take a photo of the town hall, with its golden steeple, which looked just like Pauluse kirik in Tartu, but also like the Københavns Rådhus. What even was this city? Certainly, it was still Helsinki. Or was it? Before I could get a good shot, the ferry arrived to port and we disembarked at last.
Everyone filed into the metro. I could watch their heads disappear as they rode the escalator down. I saw their shadows vanish. Somehow I found a tram that delivered me to the foot of that enormous tower. Up the tube-like elevator again, staring at the buttons. They needed the article immediately following the press conference. I could feel the tower move with the strong winds. There was a woman in the elevator who I knew from Estonia. She was dressed in business attire. She had one of those names that no one outside of Estonia could pronounce, like Õie, Ülle, or Krõõt. “How do you do it?” Õie asked. “I don’t know,” I said. “I don’t know.”
ALMOST EVERY DAY NOW, I take my bicycle out to Varesemäed. This is a small nature preserve on the edge of Viljandi Town. Its name translates as “The Crow Hills.” To get to Varesemäed or the Crow Hills, you cycle up Tallinn Street and bear right towards Põltsamaa. Soon the road dips before the turn to Karula and the last suburban houses fall away. To the right and left, vast fields open up, some of them full of golden rapeseed in the summers, others with dark, rich soil. Power lines are draped across this landscape. At Kikka, there is a small settlement of new homes, though I wonder who lives in them, or why they all moved there. Maybe it’s some sort of religious cult? Or are they exiled political dissidents? Just before you get to Kikka, you can see a massive boulder on the left. This is the boulder I call “Easter Island.”
I first started going out to Varesemäed years ago. I was introduced to the preserve by an old friend who liked to frequent such natural places. She called forests “lower pressure zones,” and she would come out to the woods to breathe, admire sunsets and the changing colors in fall. There are several nature preserves dotted around Viljandi, like the one in Loodi, or the one in Sinialliku. But these other places never really got under my skin. All of Estonian nature feels unfamiliar, all of these pines and birches. There is a melancholy contained in the land, though it’s not necessarily ominous or unfriendly, more like a broken-hearted woman boiling tea.
Surely, there must be some things to be happy about.
Varesemäed is the most interesting. There are adventures to be had there and it’s become a special place to me. After you pass the religious dissidents at Kikka, there are some other homes. In one, they are doing renovation and they have a robot lawnmower that is busy cutting grass. They have some speakers set up and like to play dance music. I love how the views open to Vana-Võidu at this point, which can be seen across the valley and the Mädajärv.
Then, just before you reach the turn off to Varesemäed, there are more homes. Once I was cycling out there and I saw a sole figure standing by a gate. An old man. Considering we were the only two people anywhere, I waved to him. He said nothing and gave me a puzzled look.
Yesterday when I went out to Varesemäed, the same thing that usually happens happened. I arrived on my bicycle, only to find out that I wasn’t the only person in the park. There was a man seated in his car, parked at the far end of the parking area. He was wearing sunglasses, though it was later in the day and the sun wasn’t so bright. He might have been talking to someone in his car. It was hard to tell because the car windows were very dark. It was a fine new vehicle. Who was the man? Why did he need to come all the way out to Varesemäed to have a conversation? It must have been important because as soon as he saw me, he left.
This scene repeats itself day in and day out. What I find interesting is that it’s usually solitary cars. It’s rarely two cars. People don’t come out here to have conversations between each other, or to meet. They come out here alone, or if they aren’t alone, then they ride in one car together. As soon as the mystery man left the parking area, a large gray van showed up with tinted windows. This van drove to the farthest end of the parking area and stayed there. I felt I was intruding and decided that I should probably leave rather than to start spying on the van.
Naturally, I think these other visitors are up to no good. Drugs? Sex ring? Serial killers? It could be anything. Maybe they are just friends who want to have a conversation away from prying eyes? Or maybe they had just been driving all day and needed a break, to sit in some place alone. “Hey, I know where we should go. Varesemäed! No one will look for us there.” Yes, a “lower pressure area,” as my friend put it. The sign in the parking lot has been peeling away for years. If you train your eye, you can read that there has been a preserve at Varesemäed since 1964. Before the Second World War, there was an Estonian Defense League shooting range.
Finding out more about the history of the place led me to search the archives of old newspapers. The first reference to Varesemäed I could find dated to 1932, when it was mentioned as an example of a ridge-like formation in the Sakala Upland. I found no references to shooting at Varesemäed, but in a 1937 Postimees article, “Suuremad laskewõistlused Wiljandis,” I learned that these shooting competitions were all the rage in the 1930s. General Johannes Orasmaa himself attended a competition between different malevs in Valuoja Valley.
Other newspaper articles from the Soviet era talk about great hikes involving different groups of Pioneers. Sometimes Lithuanian Pioneers would visit and they would all go out to Varesemäed. There was grilling and singing. A lot of happy childhood memories were made.
The best article appeared in 1976 in Tee Kommunismile, where it was reported that the land around Varesemäed had once belonged to the Karula Manor and was sold in 1912 to the Koppel family, which established the Kõre-Varese Farm near the site. It is from this farm that Varesemäed derives its name. Perhaps the broken building ruins that separate the Kehklase järv from the Vägita oja date from this time? I like to spend time around those ruins. If I strain my ears, I can almost hear the conversations of the people who used to live and work in them.
I’ve also been lost on the trails. I’ve been so lost that I came out of the woods on the Küüdeküla Road, thinking I was on the Põltsamaa Road. I’ve never seen strangers in the woods at Varesemäed, only in the parking lot. I must admit I have had my own personal adventures at Varesemäed, such as the time I went swimming naked with an Estonian woman in the lake. I’ve never really understood the rules around nakedness in Estonia. Sometimes, like when you are about to plunge into a lake, or are going into a sauna, being naked is totally fine. If you were to suddenly feel the desire to take off your clothes in Rimi or Selver, that would be ebadekvaatne.
There I was, swimming naked at Varesemäed, when one of those mysterious white vans pulled up. It parked there for some time, and I wondered if someone was taking photos of our nude dip. Surely, this would make an excellent cover shot for some tabloid. Then the mystery van roared off down that dusty road, back to the highway. Ever since then, I have wondered who was in the van. Was it someone I knew? When people gave me a strange look in town after that, or if their eyes lingered on me for too long, I would think, maybe they were in the van?
People do drive too fast on the road to Põltsamaa. The way back is fraught with danger, risk. Trucks go speeding by at astounding speeds. Just the displacement of the air can knock you over. You would think it was the autobahn and not a two-lane road in the middle of nowhere. When I cycle back, I wonder where they are driving to in such a hurry. What’s the best thing that could be waiting for anyone in this land, other than a dish of meekook and some coffee?
I am not the only cyclist out there. Just some weeks ago, I was overtaken by a blonde woman on a bicycle, with a trailer attached, a small child sitting inside. We were by Easter Island when it happened. It was a lovely crisp day, portending of autumn to come. The landscape looked majestic. The woman smiled at me as she cycled by and I thought, “I do love the countryside.”
An Estonian version of this piece was first published 29 September 2026 in the newspaper Sakala. The English version contains different Estonian words, including järv (lake), oja (stream), malev (brigade, team), meekook (honey cake), and ebaadevkvaatne (inadequate, not up to snuff). Before the Second World War, Estonians often used German orthography in writing. “Suuremad laskewõistlused Wiljandis” would be “Suuremad laskevõistlused Viljandis” today, ie. “Great shooting competitions in Viljandi.”
HARBOR STREET was always susceptible to floods. Whenever there was a big storm, a nor’easter, a hurricane, the gray seas of the harbor would thrash about and rise ominously. One winter, it lifted huge blocks of white ice up onto the lawns of waterfront homeowners, though one might have asked them why they acquired properties in such a place to begin with. During the winter storm it looked like Antarctica, only with ducks instead of penguins.
When I went back, it was just foggy and the water was at its mostly natural level. The whole area, with its sailboats, boathouses, captain’s cottages and the like, was engulfed in a dense blue mist. Even the green grass of the lawns and the hedges dripped with white moisture. I made the turn up the street in an old-fashioned car, the make of which I didn’t pay much attention to. An old neighbor was sitting in the driver’s seat; I was in the back. Yet, as I found, I was steering the car. I was controlling it with my mind. I could make it brake and accelerate.
Her name was Bettina. She was half asleep. What a funny car, one that could be piloted via telekinesis. Bettina was wrapped up in a blanket. I could only see the back of her head, all blonde and fluffy, like a newborn chick. I said, “Oh look, the guesthouse, does Andy still live there?” Bettina yawned and resettled herself into the driver’s seat. “No, he left many years ago,” she said. “But I have seen him around town.” I had known the workman Andy my whole life, both before and after his stint in juvenile hall. Fleischman and Andy had robbed a liquor store.
“What about Mangione and Schmidt?” I asked. “The carpenters?” “Dead,” she answered. “Mike Mangione died of a heart attack. Schmidt fell off a roof.” “Oh,” I said. The further we went down Harbor Street, the more I noticed that the houses were no longer where they used to be. The Deuteronomy Smith House was still there, the life’s work of the famous shipbuilder, but the others were gone. When we reached the end of the road, I realized that the turnoff that would bring us back around Ditch Road had disappeared too. Instead, a palatial new home had been constructed. The old road was now its driveway. It was lined with lanterns and small pools.
It then dawned on me that I was all alone with Bettina in a car. We were all alone at the end of a road that had no apparent exit. A man and a woman, alone in a car. Something in the atmosphere trembled at that moment. It pulsated away in different colors. “You know,” I told her. “We are all alone together here.” Bettina yawned again. “So what,” she said. “So what.”
MORNING IN EGYPT, a crowded resort hotel breakfast buffet. There were so many people, there were so many discussions, that I found it hard to find a place to sit, or even to hear my own thoughts. I found a seat at a table with a white tablecloth, one that was covered in empty greasy plates and silver cutlery. This was where I came face to face with the British girl.
Some people search their whole lives for these kinds of immediate love encounters. Others just stroll into a bar or across a park and they find them, just like that. The British girl was something else, something unordinary. She had dark hair, lively gray eyes, she was dotted with freckles. I think she said her name was Lily. Or was it Grace? I think she said she came from Exeter. It was hard to hear anything in the breakfast room. We didn’t stay there long though. Things soon moved to another room.
It just went, like the sea, and it took me out with it. I had no idea how old she was, what her past was, or if I was just this morning’s moment of solace. Maybe there were a hundred guys standing behind me, like a hundred setting suns, all lined up in a row across her sexual infinity.
But it was good love, the best kind you can have at a breakfast buffet. Her white button shirt was mostly open now. It was soaked. Then a male voice boomed, “Where is he? I need to have a word with this bloke. Teach him the meaning of respect!” Lily Grace said, “Run! It’s my dad!”
I hightailed it through the corridors of the hotel resort, up and down steps, brushing past other guests. I could still hear the man’s voice grumbling like a thunderstorm. “He’s old enough to be your father!” Was I? Lily Grace looked about 30. But I couldn’t be sure. Out the hotel, down the steps by the tennis courts. Here I paused to tie my shoes, and then I kept running.
Eventually, I reached an inlet along the Nile. Some children were tossing breadcrumbs into its cool, dark waters. I thought they were feeding fish. Then I saw about five or six baby crocodiles, snapping up the crumbs, swimming avidly, blissfully, full of life. “Hey, kids,” I told the children. “I’m not sure that’s such a good idea.” Then, from the back of the inlet, I saw her emerge, the mother crocodile. She was vast and terrifying; she looked as if she had been cut from blocks of black stone. Such a creature could easily kill anyone. It would just seize you or me up in its obsidian jaws and drag us down into the dark. That was what they called nature.
THERE I WAS, dancing with the Alexandrov Ensemble in my living room, when the wind blew the roof off the house. This was the premier song and dance ensemble of the Soviet army. They were used to doing prisyadki, or Cossack squat kicks. They knew how to do povzunets. But once I put the needle on the vinyl of Off the Wall, they were totally baffled as how to perform to “Don’t Stop ‘Til You Get Enough.” “Good American music,” I told them. “But how do American soldiers dance to this style of music?” one of the dancers asked. His name was Boris.
Then the wind blew the roof off the house and the soldiers all fled into the street. The house was a single-story bungalow, the type that’s popular in California and other earthquake-prone places. The roof came off intact, hovered in the air. My family members gathered around to observe the sight of a roof being lifted into the air by a spectral, unseen force, then tossed on its side. It wasn’t even that windy. It was like watching the Titanic issue its final deep groan.
How was I ever going to fix that? That was my first thought. In other parts of the house, a table was arrayed with a family meal. Cousins were still seated around, passing buckets of fried chicken. They were unfazed by the loss of the roof. From our side of the house, we could see the roof pitch to one side, then float into some black powerlines. The roof looked like a UFO.
Another gust of wind pushed the roof back toward the house and then across the side yard. Down it came, out by the mailbox, still mostly in one piece, though wooden shingles had started to break off on the sides. Just then, a neighbor boy arrived home from school. The bus had let him off on the street. “Come quick,” I shouted to him. “Maybe we can weigh it down with some rocks!”
All this time, Off the Wall had continued to play on the house speakers. Now it was “Rock with You.” “You fool!” my wife cried out from inside the house. She was cradling our newborn in her arms. She said, “You really think some rocks can stop it from levitating?”
She was right. The wind began its ominous rustling. There was something precise and focused about it. Again, the roof went sailing into the air. Like a zeppelin, it righted itself and began to smoothly float away across a blue sky. “Well,” I sighed and told the boy. “There goes our roof.”
WHEN I OPENED THE DOOR, it was just there, a fat letter full of yellowed pages lying in the corridor, written over in thick, black cursive. Her letter. Where had she even been? She had invited me to a party, which was to be held at an old farm out in the country. The roof of the house was thatched with reeds. When I arrived, I noticed that the gate to the yard was uneven.
I stooped down and began to run my fingers through the black earth. I found a hand shovel and began to dig. I pulled up all kinds of curiosities, silver brooches, spoons, plates, and coins. Some were from the Viking age, others from the rule of Queen Christina. I set these finds alongside the gate, padded the dirt back into place. To think of how long these items had slept.
Later, she turned up. She was wearing a white dress with a lace corset. Her chestnut curls were styled in an elegant coiffure. “I’ve seen all of your movies,” I gushed. She just watched me with big saucers of blue eyes. “I’m not really the greatest actress,” she said. “But here I am. Things do happen in life.” The young woman had appeared in several films in the German-speaking countries. The Germans, Austrians and Swiss all knew about die Frau aus Estland, and she had legions of lonely, middle-aged male fans. Certainly, some women fantasized about her.
Around the swimming pool, a hip hop concert began. Mike D was there. He began to rap the words to “Body Movin’.” There was something soothing about those old words. I knew them all, I began to sing along. All this time, die Frau aus Estland stood beside me, watching me with a kind of fascinated silence. She looked like an aristocrat from Versailles. The last time I had seen her had been at the Coldplay concert in the winter, when she offered me solace from hijinks and insanity. That was the day I met Keith Moon. She reached out and touched my arm with her finger. “I’m always here, you know,” said die Frauaus Estland. “I’ve always been here.”
THEY TOLD ME there would be a new wedding, a second wedding, a church wedding. It would be held at some old mission in San Francisco. All of my relatives would be flying in. The caterers had been paid; the hotels had been booked. It was all set. This time, everything would be different. A second wedding. I just had to stand there. Look nice. That’s what they said.
My mother arranged it. I was to remarry my ex-wife. There was a glitch though because, as far as I knew, we hadn’t reconciled. And I didn’t particularly feel like being married to anyone. The desire just wasn’t there. I could appreciate the moneymaking opportunities provided by a good wedding, of course. All of those fat checks. There was a financial upshot to these things. But the downside? The whole thing troubled me. “But you have to get married again,” my mother said. She was a big Italian woman. “All of your cousins will be there. They have been waiting.”
I didn’t even know where my ex-wife was during this time. It took some asking around, but eventually I found her living in a hostel somewhere on Van Ness. She was sleeping on the top bunk of a set of bunkbeds. She laughed and said, “I couldn’t care less either way.” That settled it, there would be no wedding. An old blues musician had been hired to play a few sets during the event. I met him outside the mission, borrowed his guitar. I played it there for a while. He said he had been given the guitar by Slim Holmes himself. He showed me new techniques, chord progressions. It was nice. “Hey there, kid,” the old bluesman said. “You play pretty good.”
THE AUDITORIUM hadn’t changed. The murals of the indigenous hunter-gatherers were still on the walls, paintings of the early colonists cutting ice from the bay. It was a school concert. For many years of my life, the seasons had been measured in school concerts. Christmas songs at Christmas, songs of springtime in spring. Musicals, Broadway, pop songs. Do you remember when we sang “Penny Lane”? And how Mr. Asunción played the stirring solo on his trumpet?
The auditorium was full of teenagers in white shirts. It was a Motown retrospective. They were doing “Dancing in the Streets” as they came down the aisles. I knew that the back of the auditorium connected to a secret hallway that led to the music classroom. I followed the singers down the aisle and disappeared into the darkness behind the sleepy American flag.
The secret hallway also hadn’t changed. It was full of boxes of equipment that were used for theatre arts productions. Costumes, scenic designs. We had once stood here, silently sweating in our concert clothes, waiting for the cue to go out on stage. There was a cool air in the hallway, I could hear them all singing. It was “Build Me Up Buttercup” by The Foundations.
And then I saw them. Two silver metal towers, modeled on the one in France. They had been used and reused in any number of plays. I took both of them with me, one under each arm. Somehow, I was able to carry both out the door into the school yard. I was able to get them by the crowds of applauding parents. In front of the school, I saw Brynhild’s dog first, then she came walking after him. She looked as she usually did, white, freckly, grotesque. She said, “Well, hello there. How does it feel to be a thief? Don’t you feel any shame?” She laughed when she said it. Brynhild’s weary laugh. She lay in the grass and toyed with some flowers, touching them. She was completely out of context here. The thing is that I didn’t feel ashamed at all. Theft came quite naturally to me. It was as if the old silver towers had always belonged to me.
THE FIRST QUESTION that came to mind when I stepped into Rüki Galleri to see Eiko Ojala’s new exhibition was: “Is Eiko a woman or a man?” With a name like that, it would probably be a man, but I wasn’t sure. Maybe she was Japanese? Like Miho, Yoko, Eiko. The woman behind the counter told me that Eiko Ojala was a man and an all-around nice guy. “In my opinion, he’s quite friendly,” she added. Her name was Inessa. So, Eiko and Inessa — these were my main characters.
Rüki Galerii was once stored rye flour. The gallery is located behind the new SEB bank on Tartu Street in the heart of Viljandi. The place is wide and spacious, and precisely for that reason ideal for experiencing Eiko’s exhibition “Mind Notes.”
The technique here is pigment print. At first glance, it’s hard to tell what’s going on. It looks as if someone has cut figures out of paper and glued them all together. But that’s not the case. It’s simply a 3D effect. There are various shapes: men, women; some are lying down, some dancing, some running together, some standing under an umbrella. Incidentally, the figures do look Japanese. They have black hair. Pale skin. There is indeed something Japanese about them. Even though Eiko Ojala is an Estonian man.
There are two buckets on the right. One on the left. Seeing them, I asked Inessa if the roof was leaking. Inessa said no. The buckets were part of the exhibition, she explained.
Inessa also tells me that Eiko Ojala is a famous artist: “His pictures have even appeared in The New Yorker.” And not only. The Washington Post. National Geographic. Time. Le Monde. Wired. Politico. It’s a great honor that “Mind Notes” is here, in Rüki, in the quiet small town of Viljandi.
In the corner are information sheets in Estonian and English describing the concept of the exhibition. These images speak about the body: how the body reacts even when consciousness ignores it. Disturbances, fatigue, comfort. The Silicon Valley “live-to-work” mentality is one influence. The fiction of Franz Kafka is another. How authority functions through spaces, processes, and customs, and how a person goes along with it until they no longer perceive that this is how they are behaving.
Ojala’s human figures express this through restless poses. They are strange, admittedly. They bring to mind characters from the film Backrooms, though it’s hard to say why. Also Playmobil toy people. The prices are high. A picture of people standing together under an umbrella costs 1,500 euros. But these are not exactly the kind of pictures you hang on your bathroom wall. At the same time, they are unique and, in that sense, welcome. After all, when you go to an exhibition, you expect something different. Something new.
I think a visitor who comes here will not be disappointed.
Looking at these images — for example, a dancing person — I’m reminded of old drawings of shamans, where someone “flies” together with some spirit. Like in old Tibetan art, where the gods strike different poses. Overall, the exhibition is a haunting, strange place. Inessa says it reminds her of the series Severance, which depicts a gloomy biotechnology company whose employees have undergone a severance procedure that separates a person’s memories between work and personal life. That seems about right.
Later, when I wrote to Eiko, he sent me the text he read at the exhibition opening in August. He adds that this was actually his first solo exhibition and therefore especially personal.
“As the name suggests, ‘Mind Notes’ — these works are connected to our senses and how we notice and interpret the messages they send us,” he wrote. “Especially in situations where we don’t pay attention to ourselves. Or rather, one could ask whether we notice those messages at all. The claim of this exhibition is that, as it were, we don’t.”
And the buckets? They symbolize repetition. At first, the visitor notices that there are three buckets of water. But over time, the water quietly evaporates. They become part of the exhibition’s rhythm.
My main question, of course, was how the author himself feels about his exhibition. In general, Eiko Ojala is satisfied. “Tranquil Viljandi was the perfect place for this,” he answered me. “But no artist can ever be fully satisfied with their art. One must always keep pushing forward.”
*
‘Mind Notes’ opened at Rüki on 16 August and will remain through 26 September. An Estonian version of this review first appeared in Edasi. More of Eiko Ojala’s art can be seen here. And Inessa (Saarits) is an artist herself.
