DDT - Deambulações DeMentes Teóricas 15

The Serial Killer - Part V
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Before I go on to explain my glorious days as one of the 10 most wanted men alive, let me go back a few years in my life. I was in the prime of my twenties. I was starting to develop a quite unique method of killing and displaying my victims. If you ask me for a reason to do this, I can only answer you that it was all part of the bigger plan. My work was art. Do you ask Picasso why he painted his blue period? Or Rodin why he had such an obssession for hands? Try asking Michelangelo why on earth he wanted to spend two years tearing his back apart to paint a ceiling few men in his time would have the privilege to see. You do not ask an artist why he does what he does or why he does it in that specific way. He may try to specify certain details of his technique, but he will never be able to explain the full measure of his craft or his purposes. Pollock put it this way: "When I'm painting, I'm not aware of what I'm doing. It's only after a get acquainted period that I see what I've been about. I've no fears about making changes for the painting has a life of its own." He also said that you always paint who you are.

My killings are me. And I am my killings. Everything about them, every single detail has a reason, an origin, a goal, but if you ask me what it is I won't be able to explain it. That's why the so called forensic experts and phsycologists amuse me imensely. Everything they say is pure crap. They build up these theoretical cathedrals of embelished mumbo-jumbo filled with difficult technical terms to say nothing but rubbish. They have no idea what they're talking about. And the worst thing is that they are convinced they reached some kind of understanding of how someone like me functions and feels.

I started by recreating works of art. That is what I did with my victims. I killed them in the exact same way the real subject of that particular work of art died, and then I presented them to the world as they were most famously portrayed. I shall illustrate with an example. Caravaggio's "Salome with the Head of John the Baptist". As you know, Salome asked her stepfather, the king Herod Antipas, to behead John and present it, the head, in a charger. And that is precisely what I did with the bum I found. With time I added complexity to the operation. The victim had to be somehow related with the character depicted. Bums would not do anymore. I also ventured from figurative into the slippery but exciting field of abstract art. This would challenge my invention skills. How do you portray a "Rythm of Autumn" with a human body?

Of course this attracted attention. Lots of it. Newspapers started calling me the Michelangelo of Death. The police and the experts generated hundreds of pages of quite interesting literature on the whys and the hows and the whos of my crimes. There was a method but at the same time there was no possibility of anticipating my moves, since no one knew what work of art I would be depicting next, and hence no one could predict the kind of victims I would choose. And then suddenly I made it all a little bit more complicated. When they were coming closer, I stopped and changed my M.O. I had planned it a long time ago, but now I was finally prepared to fly alone. I started creating my own works of art. The depiction period ended. And things got considerably more complicated for my persecutors.