He began the session as he had many times before. He produced several paintings with his favored movement: starting at a point on the page far from himself, he drew the paintbrush toward himself, repeating the process until he had created a fan shaped bundle of brushstrokes. Over the course of two years, he had created many variations of this “fan,” some split in the center, some with stippled bases, some with a central blob.
But this day, something was different. When the next page was presented to him, he began to grunt softly, and he hunched over as if with exertion. He started at a point close to his body, and ran the paintbrush away from himself. With great intensity, he performed the action again and again, until he achieved a “reverse fan.”43
43 Morris, p.97-99.