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-2- 13B that I left off several months ago, and to recapture the same feeling. During that time my attitude has change a little, and from this conflict I may have to change one spot, then I may have to change the whole thing, because I depend on emotional creation. In other words, I have to feel everything instead of just looking at it. But I have found that even though I may have to change parts I gradually get back inside of this painting, and feel as I did when I started it months before. When I walk out on the street, if I see anything interesting in shape and color, even stones, I pick them up and bring them home. If I see an interesting antique in a window I go in and buy it. I gather together all these materials and gradually I get used to them until they are a part of me. When I am thoroughly acquainted with these objects I fit them together to suit my feeling and construct material for a still life. I know exactly what it is all about because I have felt it, because I love it, because I feel the shape and color. In the same way, I must know a person very well to paint figures. Although I use models to practise drawing and to strengthen my imagination, I never really paint straight from the model. I use the knowledge I gain from practise to create my imagination in the direction I do best. What I strive for is the truth, and truth is not actuality, truth is knowledge of an object from within. Naturally, as I have painted all these years, I have become much more pick-and-choosy about the type of model I like. When I work from a model I work in sections, so as to learn more to apply to the work I want to do. I have never really painted a portrait of anybody. I am much more interested in painting women, because a woman is more decorative, and I think for me to admire woman is natural. I paint universal woman, as I dream woman should be.