For No Good Reason Page #4

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silver-painted Polacks,

who come swinging down

from opposite balconies

and meet in mid-air

on the Wolverines neck.

And no one had seen

anything like this before,

certainly not in

American illustration.

And the pictures really

weren't about the story,

but they were

a reflection of the story,

of what was

in Hunter's mind.

The casino scene, with all

the lizards, the hitchhiker...

I mean, those things

just have a life of their own,

because they're accompanied

by all this literature with it

and whole stories that go

with each illustration,

or, uh, illustrations to

go with each story,

depending on which

point of view you take.

I wanted to get

it out of my system.

It was something that was just

lying there waiting to erupt.

So it was a bit

like being sick.

I threw the pictures down

and they worked because they

were about something specific,

but they allowed me

a complete freedom to do...

It was as though

I was there.

Are we marking?

Do you feel like your lack of

drug-taking ever affected,

had an effect on your

relationship with Hunter?

No, no, in fact,

it was better that way.

It was better that we were

like chalk and cheese.

I mean, the whole idea of me being

like him would have been ridiculous.

Hunter, it's me!

Because he was

someone entirely different.

We didn't necessarily

see eye to eye.

We had entirely different

experiences of life.

And to him I was weird,

and to me he was weird.

Nice to see you.

Can I get some water?

Right, you ready?

Okay.

Wow. I like that.

Did you get that?

Great.

Oh, dear.

I like that one.

Well, this is

cartridge paper.

It's a good-quality,

very thick cartridge paper.

And, uh, this is Indian ink.

Mmm-hmm.

I like a brush...

For that kind of a stroke,

I couldn't have done it with

this one, for instance,

which is less weight.

But it might do something,

and it's lovely.

I love it,

what it does.

And I might do

another one down there.

And the way I flick, you just

simply have a flick of the wrist,

which is a sort of a proper

semicircle, in a way.

And then I've got

this here, you know,

and I could take

some of this and go...

Then I could, for instance...

An eye in there.

And I like the idea

of an eye in there

and a sense of some face

that's happening there.

Hmm.

And I blow like so.

And things happen.

What are you

doing right now?

Well, I'm pulling away the gesso

from underneath the color.

I think perhaps, you know,

art is just tricks, really.

In a way, I don't know

what there is there.

I mean, it's only a...

It started out as a

blank sheet of paper

and it's become

more than that.

There's an event

going on in there.

Yeah.

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