‘12 SHOES for 12 LOVERS‘ by Sebastian Errazuriz
12 Shoes For 12 Lovers re-imagines his ex-lovers as high-heeled shoes.
The pieces reflects on the recollection of the artist’s personal and sexual relationships with former lovers, each of whom became the influence for a series of shoe sculptures.
Each day, Errazuriz released one image of a new heeled design, completed by an accompanying photo of the footwear’s muse and a small, often explicit story about the duo’s escapades together.
’12 shoes for 12 shoes’ will exhibit at the pop-up shop of Brazilian shoe brand Melissa from December 6th, 2013 to January 6th, 2014 for Art Basel Miami Beach 2013.
"And I know some people thought he’d been having an affair with John Watson but I can tell you that’s definitely not true."
some people thought he’d been having an affair with John Watson
'He broke my heart but the sex was mind blowing'
What John Watson Likes, or
How to Ship Johnlock without Really Trying (Season 3 Edition)
Listen to it. You’re hearing two audio tracks. The first is the scene after Irene’s death. Sherlock is composing Irene’s theme music. John has a conversation with Hudders about Sherlock’s sexual orientation. They admit that neither knows and John leaves the flat for an unknown purpose and destination. As he heads down the street, he’s stopped by a tall posh woman with dark hair, pale skin, dressed to the nines in black heels, a black dress with a flowing shawl.
Listen carefully. Sherlock’s violin music, Irene’s theme is still playing over the scene even though John has shut the door to the flat. This tells the careful viewer one obvious thing— we’re meant to associate the woman with Irene, i.e. she’s not Mycroft’s agent. But there’s oh so much more to the story and I’ll get to that.
The second audio clip is what plays when John enters 221 Baker Street for the first time since he moved out post-Reichenbach. It’s Irene’s theme mixed with the euphoric dialog from Pink when John and Sherlock catch their breath after the big chase. It’s the confirmation that yes, indeed, they’re both adrenaline junkies.
But why Irene’s theme? Why is it tangled in John’s memory with his heady attachment to Sherlock and their adventures?
This meta has some prequels. I highly recommend you read the first, especially.
- "How to Ship Johnlock Without Really Trying" (S2)
- "Heartless Abandonment: Composing Irene’s Theme"
- "The Virgin and the Camera Phone"
To Recap ^
Irene’s musical theme and John’s musical theme have four note motifs and very similar contours. Their characters are inextricably linked by the music that introduces them, stands in for them, and develops with their personality growth. They’re kin by nature of the audio. The Johnlock implications are kind of obvious but that first meta up there goes into greater detail.
Yes, Ok but Get me to Season Three Johnlock Already Dammit!
Calm yourself. It’s an arc. What’s Irene so fond of saying?
So who does she send to fetch John for her dramatic Lazarus reveal? (See what I did there?) She sends what John likes. And oh is she dead on:
I’ll be clear here. Irene has sent a fem!lock, a woman with the features John so appreciates, Again— the dark hair, height, dark flowing clothing, posh. Irene knows John has a sexual pull to Sherlock (she’s hardly discreet about it) and she bloody well proved it by baiting John with a female Sherlock. Thus her smugness at Battersea.
Irene’s talking about the fellow who fudged her DNA records AND she’s needling (an oblivious) John. [“We’re not a couple!” “Yes you are.”]
John likes the danger and the mystery and the adventure Sherlock offers but John’s also unconsciously physically attracted to Sherlock. And in case Sherlock didn’t deduce it from eavesdropping on her conversation with John at Battersea, Irene makes it obvious in one of her final texts to Sherlock:
So Sherlock may not understand that he’s John’s best friend but I absolutely believe he understands that there are some complex erotics going on between them. Why else would John be the first to come to mind before Sherlock proves he’s broken Irene’s code?
John is on Sherlock’s mind because it is through John and his often elevated pulse that Sherlock understands love. Sherlock also understands that John thinks he knows nothing of it. The fact is he’s studied it in John. And he knows what John likes better than John does. It’s not ordinary Sara or Jeanette who’s interchangeable with any number of John’s blah girlfriends. Sherlock is the only person that can get John’s blood pumping. And Sherlock’s not wrong. The chemistry of John’s love is very, very, very destructive. So if Irene knows what John likes,and Sherlock knows what John likes (Mycroft goes without saying— he saw it immediately. Steady hand, John. You miss the war) who ELSE knows? Cause John’s obviously oblivious.
Oh. Right. Psychopathology…
So why Irene’s theme again?
It’s linked sonically to John’s theme. It represents Irene, yes, but also Sherlock’s eternal yearning and what there is of his sadness. It also represents a time when Sherlock was inconsolable and John heartlessly abandoned him on a holiday so there’s a tinge of guilt to it. But it’s also the musical bridge to the showdown with Irene where she made John’s unconscious desire for Sherlock utterly explicit.
John cries that Mary, she’s “not supposed to be like that.” She’s short, blonde… on the surface the antithesis of Sherlock. But at her dark core John’s best friend and his wife are actually flip sides of the same coin.
He’s fucking Mary, he’s made vows to Mary, he loves Mary— all these things are true but he’s chosen Mary for many, if not most, of the traits that bind him to Sherlock. Their friendship is utterly erotic even if John’s wired to express his sexual attraction to Sherlock in a female form. It’s alright. Sherlock, Irene, Mary. They all know what John likes. He just has to come to terms.
John knows Mary’s right. If he reads the AGRA memory stick (not palace, mind, but there’s a parallel) that he will fall out of love with Mary. She told him so. John CHOSES willful ignorance, choses to love a woman whose history he knows nothing about rather than lose the spark of his addiction. It’s not for the baby he’s staying. He knows what it’s like to live without the war, without the untrustable Sherlock, he refuses to compromise the thrills his petite assassin offers. It’s not domestic comfort, or a simple straight life John seeks. What would Mary have to do to turn him back to Sherlock? BORE him.
Sherlock knows that’s not likely. Ultimately Sherlock chooses Mary for John.
Sherlock gives John permission to love her through surrogacy. John can’t trust Mary until Sherlock convinces John that she is trustworthy, that he, Sherlock, has enough trust in Mary for the pair of them. It’s only because of Sherlock that John can keep Mary.
Listen to the music that plays over the scene when Mary takes her seat. You tell me if it reminds you of “SHERlocked" in any way. Listen carefully just as she turns to sit on the chair. It’s most obvious in the quiet piano notes at the end of both songs. It’s the similarity in aural contour again. John, Sherlock and their Women. The Woman Sherlock chooses for the man he loves so dearly.
The detective’s eyelids fluttered at the urgency in John’s voice, head moving slightly. The morphine pulled at him, making him want to do nothing but sleep…but John sounded so concerned…
”Sherlock, can you hear me?” John…
Sherlock blinked awake slowly, brow furrowing as his best friend’s face came into focus above him. John did not look well-rested in the least. “Of course I can hear you,” he tried to say, but oddly enough, all that made it out of his mouth was a hazy quiet groan.
”Oh, thank Christ,” was the answer he received. The relief in John’s voice was palpable, and Sherlock let it wash over him. He should be saying something…he needed to tell John something…but then John was talking again, and it took all of his concentration to focus on listening. “You’ve been out for a whole day. They said…” he stopped, licking his lips. “They said that your heart stopped on the table… “
Ah…yes…he remembered…a bit not good.
”You died, Sherlock.” John swallowed, just barely managing to keep the accusatory tone from his voice. Sherlock could hear it anyways. “You can’t do that to me. Not again…”
Sherlock squeezed John’s hand in a silent promise, his eyes beginning to droop once more as the morphine drew him down. He needed to tell John something…it was important…but all he could think about was John’s face, the warmth in his eyes, the worry lines in his skin, every micro-expression he couldn’t seem to interpret in his current state. He was sure they would have told him something if he had been more coherent…
But his surroundings began to blur once more, and it was only a matter of seconds before he was pulled smoothly back into sleep, John’s hand still in his. He would figure it out later…