The Key Is What Is Within The

Painting, For Me, When It Really 'happens,' Is As Miraculous As Any Natural Phenomenon - As Say, A Lettuce Leaf. By 'happens,' I Mean The Painting In Which The Inner Aspect Of Man And His Outer Aspects Interlock.

One Could Go On For Ever As To Whether The Paint Should Be Thick Or Thin, Whether To Paint The Woman Or The Square, Hard-edge Or Soft, But After A While Such Questions Become A Bore. They Are Merely Problems In Aesthetics, Having Only To Do With The Outer Man.

At That Point It Certainly Would Be Called Abstract. That Is To Say, You Had A Model And There'd Be One Or Two Or Three People There Drawing The Model But Otherwise You Had Abstractions All Around The Room, Even Though The Model Was In Front Of You.

I Think Every Once In A While I Feel The Need To Break My Medium... If I Have Been Doing A Very Large Painting I Like To Drop Into Something In Small Scale. It Is A Challenge To Go Into This Size. It Is Just To Hold My Own Interest, And Then Each Media Has Its Own Conditions.

I Knew De Kooning And I Went To His Studio So I Knew About De Kooning's Work. But Only A Little Handful Knew About It, You Know. Maybe There Were Ten People That Knew About It.