Free Closure by Jacob Ross Page B

talking about re-examining the connections between words, African peoples and global culture. It was time for a sit-down. He had been working hard all morning, mainly keeping the caterers from dropping food on the 17 th century rugs.
    In his storeroom, resting on a small 200-year-old wooden chair with a beautifully embroidered pad, George waited for the kettle to boil. Harry Cook was still talking to Neon Banks about being a black artist living in the UK and Banks was interrupting to protest that he was actually born in England, but the kettle drowned out the rest of his words.
    Harry Cook began speaking to the curator, Susan Jones. She was always very nice to George and so he paused to hear what she had to say.
    â€œThe timing was perfect. The breeding programme at the Zoo was very successful and as Neon wanted to work with tigers it was a fantastic opportunity for us to collaborate with this up-and-coming artist. It has taken us many weeks to rearrange the Great Hall collection for his work, but we are happy to be part of a groundbreaking project of international stature.”
    At seven that morning, George had been inside the Great Hall to sort out the chairs. Three of the huge white statues of naked men were now painted brown. The effect had been unsettling because they looked real in the shadowy early morning light.
    As if to explain this, Susan Jones continued: “…Even though my specialised research area is in classical art history it was Neon who informed me that the statues, so faithfully reproduced from the Greek and Roman period by the Victorian and Edwardian artists, were, in fact, originally painted in bright colours. Since both the Greek and the Roman forces throughout the world were what we would today call multicultural, having raised large armies in northern Africa, for instance, the artist is being factual, but the effect is very interesting. We invite visitors to come and see them when the gallery reopens to the general public.”
    For some reason, this information annoyed George. He sipped at his tea distractedly and scalded his lips. He put down the cup and took out his mobile phone to play Tetris.
    When Harry Cook told the listeners that Devon Derbyshire, his co-presenter, was with some protesters at the perimeter fence, George lost his concentration and then a life in the game.
    For a moment his mind flashed back to the mob that had scaled his compound wall, and driven his family into exile – after he had pleaded for their lives – over several days of looting and general mayhem.
    He checked outside the storeroom but all was quiet. He put away his phone and drank his tea, now it had cooled. He didn’t want to think about the past.
    â€œMorning, Harry,” Devon said. “I am here with a group of protesters at the gates of this lovely estate. They have come here to make their feelings known about the performance taking place inside. Oliver French is with me now. He has travelled all the way from Sheffield to be here. Sir, can you tell us why you are protesting today?”
    Oliver French was trying hard not to shout. “We do not think it’s right that animals are being used in this way; in this day and age it’s disgusting,” he said. “This so-called work of art is cruelty. We’re not protesting at the use of animals by humans, but we say that non-human animals must be given respect.”
    The crowd cheered him on. “We don’t think a black man should even be considering using animals in this way. How can anyone think this is art?” The crowd murmured their agreement again.
    â€œWhy does the artist’s colour make a difference?” Devon Derbyshire asked.
    George was wondering the same.
    â€œAfrica is being stripped of its natural wealth of wildlife and resources,” French stated, and then asked: “Should Neon Banks really be considering more of the same?”
    George tried to forget the taste of some of the wild