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change this, don't change that - that's hardly accident.

Forge:  I supposed it might be possible to cause - er - things to happen in the painting which were outside your direct willful control.

Krasner:  Mm.  Those I'd let go.  These are the things that I allow to dictate to me, or try to.

Forge:  Now does this attitude have any background in some structure of belief about the nature of unconscious behavior or unconscious symbolism or anything of this kind?

Krasner:  It's not a  matter of belief, it's a way of working.  It's ... I don't start with a model in front of me, so to speak, it's the source from which I move.  So that I pickup the brush and start.  I don't know .. and it says to me or it directs me, if I can keep it that way I'm fairly comfortable.

Forge:  And in this process you would hope, I imagine, to reduce the field of choice. As far as possible.

Krasner:  That's right.  Exactly.

Forge:  Now, I wonder, looking back again, whether you can remember a point at which you decided that - er - preconceptions were not the right way to paint.

Krasner:  Oh, there's no questions about what that point was.  Pollock.  No question about it. Through watching his point of contact in work I believed in it.  Seeing the results I certainly believed in it.  I would say definitely that was the point.

Forge:  So that he was a kind of releasing factor; he released