They always told me,
paint what you feel.
But no one warned me
that feelings grow lungs
when you pour too much of your soul into pigment.
For years, I have stood before white silence —
the spotless canvas breathing softly,
like a secret waiting for confession.
My brush, trembling with an old hunger,
learned to obey the ache in my chest.
Every stroke was a whisper,
every shade, a translation of something
I could never say aloud.
Then, one evening —
the air so still that turpentine fumes hung like ghosts —
I felt a stare.
Not from behind,
but ahead,
from within the very painting I labored over.
A woman, unfinished —
her eyes glazed with indigo,
her smile caught between joy and surrender.
She should have been still.
But the corner of her lip quivered
like a secret trying to escape.
I froze.
The brush clattered to the floor,
its bristles fragile with paint and disbelief.
She blinked — once,
slow as moonlight parting the clouds.
The silence in the room thickened,
turning into breath.
At first, I thought madness had finally arrived,
that isolation had seeped too long through my pores.
But then I heard it —
the faint shiver of movement
behind dried color and stretched linen.
Her hand twitched.
And for a moment, light broke between realities.
***
The days that followed were sleepless.
I painted in the dark,
afraid and drawn toward the impossible,
my heart beating like a trapped bird.
Each figure I touched
seemed to awaken — slowly, gently,
as though recalling a memory they had inherited from me.
A child I painted smiled one night.
A man in shadows turned his head to watch me.
The old beggar I once shaped from despair
sighed into the evening
with the weariness I had borrowed from myself.
Their voices were hushed,
like the sea beneath winter fog.
But I felt them —
their longing,
their confusion,
their fragile gratitude for breath.
They were alive.
And worse —
they knew I was the one who birthed them.
***
At first, there was wonder.
To be god for a moment —
what artist has not imagined that?
But ecstasy shifted,
slowly, tragically,
into guilt.
For they could not move beyond the boundaries of their frames.
They existed only as far as I allowed.
Their joy depended on the tilt of my brush.
Their sorrow — inevitable.
Their entire universe stretched no further
than the edge of my imagination.
When the woman in blue asked me, quietly,
“Why did you give me longing if I cannot walk toward what I desire?”
I had no answer.
Only tears,
and the soft echo of my own flaws
staring back at me through her eyes.
Every figure became a confession.
The lovers I had once painted —
they fought endlessly,
because I had painted them from a memory of brokenness.
A tree bent in storm never straightened again —
it swayed in eternal wind,
like my own heart pulled between creation and regret.
***
I tried to stop painting.
But silence turned unbearable.
The room haunted itself with color.
Even after I washed my brushes,
the scent of turpentine whispered, “Return.”
The linen called my name
the way memory calls the sleepless mind —
soft, relentless, kind, and cruel at once.
One dawn, I yielded.
A blank canvas awaited like a child’s forehead awaiting a blessing.
I stared into its emptiness and it stared back,
asking, “What will you make —
and what part of you will you sacrifice this time?”
I mixed colors with trembling hands —
crimson for pulse,
ultramarine for dreams,
ochre for memories too heavy to carry.
When my brush touched the surface,
I felt no resistance —
as though the veil between existence and illusion
had finally dissolved.
This time, I did not create figures.
I created air.
Wilderness.
A river that trembled into the horizon.
And within that river — a reflection.
My reflection.
It blinked back.
***
Days turned into indistinguishable blurs of pigment and prayer.
I could no longer tell
if I was painting them
or they were painting me.
Each new face seemed familiar —
carved from my exhaustion,
mirrored from my youth,
softened by something I could no longer name.
The woman in blue began to smile differently —
with understanding, not longing.
The child laughed.
The beggar looked peaceful.
It was as if they had forgiven me.
Or perhaps,
I had learned to forgive myself through them.
I realized —
they were not separate beings.
They were fragments of me,
cast into color so I could finally see myself.
Every mistake I’d ever made
was alive in the brushstroke of a figure
searching for its own redemption.
Every love I’d ever lost
was painted into eyes that refused to close.
In giving them life,
I had revealed the unseen tenderness
of my own.
***
Now, when I stand before my paintings,
they breathe quietly,
not as captives, but companions.
We exist in mutual recognition —
creator and creation,
mirrors of one another’s loneliness and beauty.
They do not speak much anymore.
They don’t need to.
Their silence gathers like music
around the edges of the room.
Sometimes, in moonlight,
I see them move faintly,
a shifting of light,
a blink that feels like mercy.
And I smile.
Because now I know —
life does not stop at the edge of the real.
It spills over —
through color, desire, memory, grief —
into every touch that meant something,
into every stroke that dared to feel.
I was not cursed to create life.
I was chosen to witness
how life creates through me.
***
I wake with paint still on my fingers,
dreams caught between worlds.
The canvas waits,
but I am no longer its master.
We meet as equals now —
two halves of the same heartbeat
learning to forgive the necessity of imperfection.
When the woman in blue smiles from her frame,
I no longer look away.
Her gaze no longer frightens me.
It feels like peace —
the kind you find
only when you finally understand
that nothing you make ever truly belongs to you.
It merely continues breathing
in another kind of light.
This post is a part of Blogchatter Half Marathon



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