At the time of her early albums, I seem to recall that Joni Mitchell once said that she felt that the more her writings and music would tell about her soul's bleeding, the more her audience would identify with her, and hence wished that she would bleed still more - in this case, the famous sacrificial transfer. In my own case, if the latter ever existed, it can be said that it had at least the merits of being the trigger for a process leading to this series of illustrations, engravings and later then, a series of paintings.
If I thought for a moment that I did what I did only because of a compelling kind of catharsis, then the release of the Night Ride Home album in 1991 made me change my point of view. An album which remains one of my favorites, due to the presence of Two Grey Rooms and Come In From The Cold (two compositions which are among Joni Mitchell's masterpieces that always moved me the

most). Two Grey Rooms immediately made me think that if "things never happen by chance", like so many of us often feel, my history with Joni Mitchell was no exception to this rule.

Thereby, this composition took on a particular meaning in relation to the aching love story which had invaded my life twenty years before its release. I have often stressed how this composition of the album Night Ride Home was certainly one of the most poignant of Joni Mitchell's, both in terms of meaning and music. Two Grey Rooms, inspired by the experiences of a man who was part of the filmmaker Rainer Werner Fassbinder's scene, is one of the finest compositions by Joni Mitchell with regard to both its melody and its words as I already pointed, but also because of the specifity of its genesis, in the perpective of Joni Mitchell's corpus of other works.