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| “Let
me explain what I mean through a story.” He motions me with
his hand to have a seat on the stool. As I am seated, he raises
his right pointer finger and begins swinging it from side to side
as he speaks. It is as if his finger is a remote control to his
speech. “One time when Rodin completed a sculpture of a figure he had been working on for months, he called upon one of his students and asked him what he thought of the sculpture. The student walked around the sculpture a few times, examining it from all angles. The piece was a magnificent life size clay sculpture of a monk. The monk seemed old and his face, mostly covered by a hood, revealed a pensive expression. Once the student had formed an opinion of his master’s work, he replied. ‘Master, most of all I like the hands. They are so detailed. So magnificent.’ Rodin seemed unsatisfied and called upon another student to join them in the room and asked him the same question. The student examined the sculpture and said ‘The details in the hands are the most remarkable I have ever seen, master.’ Rodin, still unhappy, called in a third student and posed him the same question. The student replied “Why master, the hands on this sculpture are the most lively I have seen that do not belong to a real man.’ Rodin, at this point frustrated, walked towards the sculpture and faced it. He looked directly into the piercing clay eyes of the monk. Rodin held the clay hands in his own and broke them off. Then he turned to the three students in the room and said: ‘Now, for heaven’s sake, what do you think of my new sculpture?’” Herman freezes his gesture for a few seconds. His eyes are wide open causing his forehead to wrinkle. His pointing finger remains frozen. I smile. Only then does Herman relax his face and return his finger to his fist. I resume my undressing. I walk towards the stage in the center of the room and sit in the boundaries of the tape markings. I arch my back and form a diamond with my legs. |
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