Matt was stocky, sardonic, Korean-American, male. I doubted highly he was Hayes’s type.
“He only dates older women. Don’t you watchAccess Hollywood?” She started out of the kitchen and then suddenly stopped, swiveling around, her eyes landing on me. “Howdo you know him exactly?”
Lulit pressed the button on the espresso machine just then, filling the space with a welcome roar.
“He’s a client.”
I barely had the time to process all that Josephine had said—who knew she was such a wealth of boy band information?—before Hayes came looking for me. I could hear them in the hall: Lulit making introductions, Hayes’s not-enough-sleep voice, Matt and Josephine sounding not at all like themselves.
He popped his head into the office eventually. “Hi. I’m looking for the boss lady.”
“There are two of us here.”
“I’m looking for the one I came with.” He smiled, sly, sliding the door shut behind him. “This is a cool space.”
Lulit and I shared the oversized box. White walls, cement floors, like the rest of the gallery, except the lighting here was warmer and there were personal touches throughout.
“Is that Isabelle?” He came up behind me, admiring the photos on my desk. Two of Isabelle: one as a toddler, dressed as a ladybug for Halloween; the other at age seven, a snapshot taken on the Vineyard, my little bird. And a black-and-white of me, captured by Deborah Jaffe, one of our photographers, at her opening earlier that year. Close up, in profile. I’m laughing and my hair is still long.
“I like this.” Hayes lifted it from the desk. “Solène Marchand,” he said softly.
“We are not having sex.”
“I… wasn’t expecting us to…”
“No, I don’t mean now, I mean in general. They cannot know that we are having sex.” I pointed to the door.
Hayes’s expression was contrite. “But Lulit knows, right?”
“Lulit knows. The others do not. And we’re keeping it that way. And later you can tell me why you only date older women.”
“Who said that?”
“Access Hollywoodapparently.”
Hayes followed me around the gallery while I gave him a brief overview of the exhibit. The work of the two artists, how they were similar, how they were not. How Ailynne worked with film and created ethereal nature stills by experimenting with depths of field and focus. And how Tobias’s prints were done digitally, playing with shutter speed and then further manipulated in post. How his captures managed to look like the world flying by at sixty miles per hour. Both artists’ works: blurred, evocative.
He was quiet for the most part, attentive, like a young student. His hands clasped behind his back, his face open. I imagined this was what he looked like at his posh school. Minus the skinny jeans, of course.
“How do you find them? Your artists?”
“Different ways. Some we plucked straight from grad school and have been with us since we first started. Tobias was at CalArts. Ailynne came over recently from a smaller gallery.”
“I really like this one,” he said, pausing in front of a large James print. A moody seascape, at once peaceful and aggressive.
“It’s very masculine.”
“Is it?” Hayes cocked his head. “What makes it masculine?”
“The energy, the mood, the colors. It’s just a feeling I get.”
“I thought water was feminine.”
“I think art can be whatever you want it to be.” I reached out to grab his hand and then remembered where we were and who he was, and so quickly retreated, crossing my arms.
He laughed softly. “What are you so afraid of? You ashamed of me?”
“I’m not ashamed of you.”
