Milieu Euphony (In Act Series #2)

Phase 10

PHASE TEN

TO QUESTION IS TO FORFEIT

Everyone's stay was temporary; the masters of their own discipline would eventually leave.

Ophelia Agostini was the living proof.

That's why I was here to question: did the reason that made you stay was the reason why you left?

There was no plausible answer that I had come up with because, to begin with, I had no credibility nor experience to answer that. I was not gaining experience in questioning her, rather, trying to understand where they came from.

What pushed them to continue this journey and stay for a long time before they stood up from where they were seating—the cushion warm, then decided to leave it cold?

They followed their paths and gathered experienced for themselves, but what was behind their desire to leave or discontinue what they started? Was it something stronger than staying? Or their desire to stay weakened that's why they left?

The one who was named after a renowned sculptor wouldn't spend his holy time answering a nonsense question, that's why I talked to the closest sculptor I knew, instead.

Because I had been surrounded by sculptors—it was Ophelia who gave me that idea. Aside from asking guidance from Michelangelo, I should ask it from someone whose work had captured the interest of that man.

Ophelia sat on her stool as she molded the clay with her hands. Bothered by her French bob cut that grazed her oval-shaped face, she tucked one side and continued working—a simple earring was revealed, before the clay that now grazed her cheek.

"Ophelia," I called amidst the low whirring sound of the pottery machine. I pointed at my cheek when she glanced at me.

"Lael." Her eyes brightened up then wiped her cheek using the sleeve of her shirt. Saglit niyang binitiwan ang pag-apak sa pedal bago magpatuloy at paikutin muli ang luwad sa kamay.

"What brought you here?"

Her small, private studio was built from the money that she got in joining contests. Her parents were very supportive of her sculpture journey, but her mother was the only one left when she stopped. She even supported Ophelia's decision in pursuing pottery instead of sculpting.

It had a familiar concrete and earthen smell probably due to the clay she was working with, and the unfinished construction of the room. Maybe the paints were out of budget, or she preferred letting it be because it matched the current theme of the room.

The studio also had a large area to store different types of equipment—a spare pottery wheel, clay, water, wooden tables, and some extra chairs, earthenware, paints and dyes, a kiln, sculpting tools, and sponges, and big windows— of course, who wouldn't want to be caged here?

She was doing what she wanted amidst pursuing what she doesn't want. How much more exploration could she possibly have?

But though her decision in pursuing pottery was well-known in the lineage, her reason for stopping was still unknown.

It was a mystery that only she could answer—if she would bother to answer.

"I have pottery classes," I started; she nodded. "I need to learn techniques."

Tiningnan ko siya, tinatantiya kung mahuhuli ako.

But she was still engrossed in her haven that she didn't notice the truth behind my tone.