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dinner, though that didn’t change the fact that it was an obligation.) And it wasn’t just preparing meals—I had the right to stop eating altogether and starve if I felt like it. I was utterly free to do exactly what I wanted, without worrying about anybody else.
In the end, though, I couldn’t paint a thing. No matter how long I stood in front of the canvas and stared at that white, blank space, not a single idea of what to paint came to me. I had no clue where to begin, how to start. Like a novelist who has lost words, or a musician who has lost his instrument, I stood there in that bare, square studio, at a complete loss.
I’d never felt that way before, not ever. Once I faced a canvas, my mind would immediately leave the horizon of the everyday, and something would well up in my imagination. Sometimes it would be a productive image, at other times a useless illusion. But still, something would always come to me. From there, I’d latch onto it, transfer it to the canvas, and continue to develop it, letting my intuition lead the way. If I did it that way, the work completed itself. But now I couldn’t see anything that would provide the initial spark. You can have all the desire and ache inside you want, but what you really need is a concrete starting point.
----
—
I would get up early in the morning (I generally always wake before six), brew coffee in the kitchen, and then, mug in hand, pad off to the studio and sit on the stool in front of the canvas. And focus my feelings. Listen closely to the echoes in my heart, trying to grasp the image of something that had to be there. But this always ended in a fruitless retreat. I’d try concentrating for a while, then plunk down on the studio floor, lean back against the wall, and listen to a Puccini opera. (I’m not sure why, but all I seemed to listen to then was Puccini.) Turandot , La Bohème . I’d sit there, staring at the languidly rotating ceiling fan, waiting for an idea or motif to come to me. But nothing ever came. Just the early-summer sun that rose sluggishly in the sky.
What was the problem? Maybe it’s because I’d spent so many years doing portraits for a living. Maybe that diminished any natural intuition I had. Like sand slowly washed away by the tide. Somehow the flow of my life had gone off in the wrong direction. I needed time, I thought. I had to be patient. Make time be on my side. Do that, and I was sure to seize the right flow. That channel would surely come back to me. Truthfully, though, I wasn’t sure it ever would.
It was during this period, too, that I slept with the two married women. I think I was looking for some kind of inner breakthrough. Come what may, I wanted to break out of the rut I was in, and the only way for me to do so was to jolt my psyche, give it a prod (it didn’t matter what kind). Plus I’d started to tire of being alone. And it had been a long time since I’d slept with a woman.
----
—
It occurs to me now that my days back then were pretty strange. I’d wake up early, go into that small square, white-walled studio, have no ideas for what to paint as I stared at the blank canvas, then flop down on the floor and listen to Puccini. When it came to the realm of creativity, I was basically facing a pure nothingness. When Claude Debussy had writer’s block while composing an opera, he wrote, “Day after day I produce rien —nothingness.” That summer was the same for me—day after day I took part in producing nothingness . Perhaps I was quite used to facing nothingness day after day—though I wouldn’t go so far as to say we were intimate.
About twice a week in the afternoon, the second of the married women would drive to my place in her red Mini. We’d go straight to bed and make love. In the early afternoon we’d devour each other’s flesh. What this produced was, of course, not nothingness. No doubt about it, actual flesh-and-blood bodies were involved. Bodies you could actually touch with
In the end, though, I couldn’t paint a thing. No matter how long I stood in front of the canvas and stared at that white, blank space, not a single idea of what to paint came to me. I had no clue where to begin, how to start. Like a novelist who has lost words, or a musician who has lost his instrument, I stood there in that bare, square studio, at a complete loss.
I’d never felt that way before, not ever. Once I faced a canvas, my mind would immediately leave the horizon of the everyday, and something would well up in my imagination. Sometimes it would be a productive image, at other times a useless illusion. But still, something would always come to me. From there, I’d latch onto it, transfer it to the canvas, and continue to develop it, letting my intuition lead the way. If I did it that way, the work completed itself. But now I couldn’t see anything that would provide the initial spark. You can have all the desire and ache inside you want, but what you really need is a concrete starting point.
----
—
I would get up early in the morning (I generally always wake before six), brew coffee in the kitchen, and then, mug in hand, pad off to the studio and sit on the stool in front of the canvas. And focus my feelings. Listen closely to the echoes in my heart, trying to grasp the image of something that had to be there. But this always ended in a fruitless retreat. I’d try concentrating for a while, then plunk down on the studio floor, lean back against the wall, and listen to a Puccini opera. (I’m not sure why, but all I seemed to listen to then was Puccini.) Turandot , La Bohème . I’d sit there, staring at the languidly rotating ceiling fan, waiting for an idea or motif to come to me. But nothing ever came. Just the early-summer sun that rose sluggishly in the sky.
What was the problem? Maybe it’s because I’d spent so many years doing portraits for a living. Maybe that diminished any natural intuition I had. Like sand slowly washed away by the tide. Somehow the flow of my life had gone off in the wrong direction. I needed time, I thought. I had to be patient. Make time be on my side. Do that, and I was sure to seize the right flow. That channel would surely come back to me. Truthfully, though, I wasn’t sure it ever would.
It was during this period, too, that I slept with the two married women. I think I was looking for some kind of inner breakthrough. Come what may, I wanted to break out of the rut I was in, and the only way for me to do so was to jolt my psyche, give it a prod (it didn’t matter what kind). Plus I’d started to tire of being alone. And it had been a long time since I’d slept with a woman.
----
—
It occurs to me now that my days back then were pretty strange. I’d wake up early, go into that small square, white-walled studio, have no ideas for what to paint as I stared at the blank canvas, then flop down on the floor and listen to Puccini. When it came to the realm of creativity, I was basically facing a pure nothingness. When Claude Debussy had writer’s block while composing an opera, he wrote, “Day after day I produce rien —nothingness.” That summer was the same for me—day after day I took part in producing nothingness . Perhaps I was quite used to facing nothingness day after day—though I wouldn’t go so far as to say we were intimate.
About twice a week in the afternoon, the second of the married women would drive to my place in her red Mini. We’d go straight to bed and make love. In the early afternoon we’d devour each other’s flesh. What this produced was, of course, not nothingness. No doubt about it, actual flesh-and-blood bodies were involved. Bodies you could actually touch with
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