Some would describe Monique Carcuela as the archetypal beauty, a stunning marvel of classic, isometric proportion. Those who knew her before what has been referred to with comic understatement as 'her fall,' describe the ambient peculiarity of her proud, symmetrical bearing. Her stunning intelligence was as crisp as an intaglio. Her superbly toned dancer's body seemed to meld with the wind as she walked.
People talked of her dignity as if it were a lost set of house-keys, something of consequence transformed suddenly by careless oversight. If she's remembered at all it is for her role as the weary muse behind Currado Malaspina's most controversial piece to date - The Baba Kama Sutra.
People talked of her dignity as if it were a lost set of house-keys, something of consequence transformed suddenly by careless oversight. If she's remembered at all it is for her role as the weary muse behind Currado Malaspina's most controversial piece to date - The Baba Kama Sutra.
In the days when every art student saw themselves as Brassaï's heir apparent, the striking couple were were constantly caught on film despite their silly attempts at discretion.
Dressed and outdoors they appeared to be just friends, casual comrades in a gentle crusade against French neo-bohemianism. At the time just a few of us knew what was really cooking behind that threadbare veil of propriety.
Who ultimately rejected whom is still very much a matter of scholarly speculation. There is ample evidence to suggest that their brilliant flame extinguished on its own.
One thing seems to be certain.
Malaspina is a far better lover than he is a draftsman!
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