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friend and a person so concerned, not only with himself and perhaps a few [[strikethrough]]o[[/strikethrough]] people that he's close to, but with everybody. I think that [[strikethrough]]he's[[/strikethrough]] it is also...reflected in his work. We [[strikethrough]] really [[/strikethrough]] can't even call it painting because it really never, hardly ever has been that alone. He, after all, always wanted and succeeded to go beyond, stretch out of the canvass to the point where now he's more involved with theatre, his special kind of theatre, than, than painting. And probably whatever these experiments and accomplishments will lead to is a new approach to painting, or what painting is to art, is...a permanent type of art. Whatever it will be nobody can [[strikethrough]] so [[/strikethrough]] say. But I really haven't answered your question about his [[strikethrough]] openings. [[strikethrough]] openness. Well he's so open because, and I said it [[strikethrough]]q[[/strikethrough]] was reflected in his painting, because there are...well, he includes all the world in his painting. Whatever strikes his fancy is immediately incorporated in his work. And it's not by any means as one might think a casual _______ operation. I don't know through what kind of alchemy everything that appears in the painting is ...not calculated but makes sense, structured. So you may think that the painting behind me contains all kinds of disparent (?) elements, but it makes a great deal of sense. There is artistry there, and artistry, there is more than artistry; there is also a woman there. And there are all kinds of scenes and symbols of our urban civilization, and all this juxtaposed in a way