Although there were neither witnesses nor any known record or transcript, there is no shortage of speculation regarding the legendary four-hour walk Currado Malaspina took with the Italian psychoanalyst E. Barba Giovedi.
Malaspina puzzled for many years over the nature of his work and its putative relationship to his personal history. He struggled for years with his despairing pessimism and often wondered if his dark disposition was necessary for his creativity. As a lifelong serial philanderer, he wrestled with his conscience and his oppressive remorse. As a pasticheur of other people’s ideas he was pained by his unexceptionalism despite his early promise.
In short, he was a shell, a ruin, an empty vessel masquerading as a genius for the benefit of a credulous and adoring public.
I will not add to the unsubstantiated rumors but I will simply note that after that famed meeting, Currado produced the series of monotypes that have justly earned him a sacred place in the annals of contemporary French art history.
He has since replaced his old neuroses with new, more eccentric ones and has no intention of addressing them clinically.
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