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RF: What about that form apeals to you?

RY: I've been trying to analyze and asses it... I feel like it's something multi-faceted: head-like [[mechanical + organic at the same time]], hat-like - dome-like thumb-like phallic. In a funny way its kind of like a signature.

RF: There's a central form, but forms on the edge threaten to spill out.

RY: You say spill out, but I tell myself the forms are entering. In contrast to the collage where everything is seen, there's partial visibility of forms on the edges, but I see [[strikethrough]] ing [[/strikethrough]] them as entering rather than leaving. After I do my paintings I keep thinking of the individual forms, island-like in this vast open area: an isolated thing alone and yet related to things neighboring, even in the collages.

RF: Your interests are primarily formal: shape, color and the relationship of parts. At the same time, though, people have commented in the pyschological content in both the paintings and collages. Are you intentionally investigating human relationships or psychological states?

RY: [[strikethrough]] I don't think it's a conscious effort. [[/strikethrough]] The psychological aspect is not consciously planned.[[strikethrough]] I keep thinking of [[/strikethrough]] I am interested in the idea of co-existence. There's so [[strikethrough//]] me [[/strikethrough]] much going on in the world - so [[strikethrough]] me [strikethrough]] many kinds of people, forms, [[strikethrough]] land, situations, cultures, [[/strikethrough]] characteristics, all existing at the same time. [[strikethrough]] In a sense [[/strikethrough]] It relates to cubism [[strikethrough]] or [[/strikethrough]] + simultaniety. [[strikethrough]] And I keep constantly thinking of that concept somehow. [[/strikethrough]] Many things occuring at the same moment. [[strikethrough]] I don't think of conscious psychological thinking at all. It just happens.[[/strikethrough]] A kind of visual sociology - the psychological content occurs, I think. Because of this kind of "coming together" - content occurs not because it is pre-planned rationally but because of how the visual properties come together - sometimes when even/irrationality made -
RF: You've been teaching for quite a long time now. What lessons from your work do you take to your students?
RY: I think that teaching is a very exciting and complex thing. Teaching, along with developing the intellect [[strikethrough]] is [[/strikethrough]] should be [[concerned?]] about educating the emotions. Along with the concern [[strikethrough]] with the [[/strikethrough]] for formal relationships, I try to get the students to begin to confront themselves and their reactions + responses, to the world around them, whether it be overt subject matter or some kind of visual [[strikethrough]] relationship [[/strikethrough]] sensation that they might come upon while they're  "walking" through the [[strikethrough]] city [[/strikethrough]] world. I'm also trying to get them to [[strikethrough]] look at things [[/strikethrough]] respond to besides the [[?]] European painting. The source material out there is so immense and multifaceted. I keep telling them that art making is about hybrids: elements coming together to create this new wonderful, unique thing because of this mixture.

[[left margin]] attitudes [[/left margin]]
[[right margin]] can this be clarified [[/right margin]]

Transcription Notes:
NOTE: there are a lot of strikethroughs, so I tried to format as best as I could I wrote in the edits/additions as if they were written in the original text psychological is misspelled the first time on purpose (pyschological) simultaneity is also purposely misspelled occuring is misspelled on purpose NOTE: I edited to include only the parts of a word that had strikethrough and leaving the remaining part of the word outside the strikethrough brackets as this seemed to be how the original writing intended it to be read. the insert "mechanical + organic at the same time" is unclear where it was originally meant to be inserted into the text, seeming to point to the middle of a hyphenated phrase.