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Transcribe page 5 of 7
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- 5 - I get going in a cycle of work, I more less know, but when there's a break at any time - as there is at the moment - I'm not quite sure what the next canvas will be like when I start it. Forge: There are degrees of unconsciousness, aren't there, and it might be possible to embark on a painting round a certain theme or a certain idea without being able to anticipate exactly what would happen, but then on the other hand it might be possible to embark on a painting without any notion at all of even how the picture is going to be painted. Krasner: That's right. Forge: Would you say that you work in the second way - that you really go into the painting situation absolutely from - without any previous notion of how the picture's going to come about? Krasner: That is to say I can't tell if we break it down, I can't tell what image will come through, I can't tell whether the paint's going to be thick or thin[[strikethrough]]k[[/strikethrough]], so pretty much I can't tell is what I'd say. I know what I'd like at some point, but it doesn't always go that way. Forge: Does accident play a large part in the contribution? Krasner: I don't know about the word accident. I'm uneasy about it, because once something begins happening on the can vas I'm very conscious about what is taking place, and now - whether that's accident or not is pretty difficult to say. Forge: Mm. Krasner: But it is only until something begins taking place that I can enter it so to - that I can say I like it, I don't like it,
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