A mirror covered with a dirty sheet was attached to the easel, close to where the painter's face would be, as if he had planned to do his own portrait someday. On the other side, a sundial, chosen perhaps as an object of study for a future painting, was lit by a few rays from the spotlight. It was difficult to tell what in this arrangement was supposed to be used for painting and what was supposed to be painted. One had the impression that the painting was there, already finished, and that the artist, exhausting himself in a destructive effort of transcription, was the only one who did not know it. One could even wonder whether in distributing colors on a canvas he had not intended to destroy the painting whose existence shocked him.
Aminadab, Maurice Blanchot