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1951 most of my pictures, while they don't look specifically derivative, show all the sings of looking carefully at Gorky de Kooning, Pollock, etc. And what interested me most was Jackson's big pictures and the fact that they seemed to have been born or happened all at once in that size. And I loved that idea--in other words a picture not being made in steps or labored even though it might have taken weeks or months-- and backing and filling to do it--but the all-over looke of this exploded --or this came to be. But I wanted to do it without using lines. And for me--Pollock, while it wasn't the use of line as line--it was webbed ,dripped, rained, or -- well, you know the look. And I had seen him work on the floor, spraying--that was in 1941, I guess. And I started working on the floor and was still involved in getting at this idea of the picture spontaneously--all at once--happening. And I was using a medium of turpentine, two pigments and enamel, in varying consistencies and one day just mixed up great gallon --pails of it--and instead of using line or drawing poured areas that acted as line or shape or form, but what happened was that using the unsized cotton duck, it soaked in so that one could in a sense draw in areas of color without lines or applying your wrist. What I wanted to avoid then was that brushing look. So later--and from time to time since then--I have wanted a brushy look or some sign of hand or arm--but . . .
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But you say that one day you mixed up all this paint--something you'd been thinking about? Or-----