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13 EW: Yes. LK: Oh no, but then I'm a problem with this, about my own work., I really am. In terms of an awareness of one moment, there's damned good painting, and I know it, which I imagine every artist that paints has that feeling or whatever it is, but then I did have to live through the periods where I was the adoring wife, who thought her husband was a genius, you know. So it's confusing. You know, so there are periods when I feel I know what I'm about, and it's damned good painting, etcetera, and the next day, it drops as low as it can drop. Which I assume, is a perfectly normal procedure. EW: So, in other words, there's really no one phase of your work, on which you could look back and say, that's really the best I've done LK: I'm always preoccupied with the ___damned stinking last painting I'm working on! You know, like that's my full involvement. And I can't imagine it's different for any other painter. I really can't EW: You said there was something you wanted to add to what we were discussing before? LK: Oh, I wanted to add what we were saying before when you spoke of the young painters, and my awareness of them -- that's based on some kind of inbred psychological something, which is a kind of order of things, based on past -- I don't mean Pollock when I say past -- I mean past past, something called art history. And the element of time, unfortunately, is needed there. And we do have that, there's no getting away from it. Some things, in time, do clarify themselves. You do have an individual who, you know, appears on the horizon, and opens a door, wide, we all live on it, for a long time to come, 'till the next one individual arrives, and opens another door. In that sense, with regard to the young painter, whoever she or he may be, it's inevitable that something will come along. I can't pull the shots. EW: But you haven't seen it yet?-- LK: For me, it hasn't happened yet....since Pollock.
