The Key Is What Is Within The

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.

I Went Into My Own Black-out Period Which Lasted Two Or Three Years Where The Canvases Would Simply Build Up Until They'd Get Like Stone And It Was Always Just A Gray Mess. The Image Wouldn't Emerge, But I Worked Pretty Regularly. I Was Fighting To Find I Knew Not What, But I Could No Longer Stay With What I Had.

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.

We Get Used To A Certain Kind Of Colour Of Form Or Format, And It's Acceptable. And To Puncture That Is Sticking Your Neck Out A Bit. And Then Pretty Soon, That's Very Acceptable.

I Like A Canvas To Breathe And Be Alive. Be Alive Is The Point. And, As The Limitations Are Something Called Pigment And Canvas, Let's See If I Can Do It.