Coco – the devoted, unsung heroine of Bowie’s career – had its walls painted white as a private gallery for his dark images. She ordered in blank canvases and tubes of oil paint. She read Nietzsche beside him, beneath the fluorescent portrait he painted of Japanese author Yukio Mishima. Above all, she went with him to the Brücke Museum, to gaze at the works of Kirchner, Kollwitz and Heckel. The expressionists’ rough, bold strokes and melancholic mood captured a sense of the ephemeral, as well as Bowie’s imagination.
—Rory MacLean, Bowie in Berlin: ‘He drove round the car park at 70mph screaming that he wanted to end it all’, The Guardian, Jan. 13, 2016