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not essentially different according to subject -- even [[strikethrough]] if [[/strikethrough]] when using a photograph [selection [exists [[strikethrough]] [[?]] whether non-objective or figuarative youre still working with [[/strikethrough]] That's true whether you're working with something non-objective or figurative, it still [[strikethrough]] [[?]] [[/strikethrough]] is something which has a meaning for you which does not have to become specific. For me its better if it is kept to myself and on as [[strikethrough]] a [[/strikethrough]] unconscious a level visual as possible because then I'm more free to react on a completely physical level and deal with whatever it is as a fact. That approach has resulted, I think, in a much more powerful image, when I'm successful in completing it, than if I had thought out in advance 'What does this painting mean to me?' or [[strikethrough]] w [[/strikethrough]] some other sentimental of romantic [[strikethrough]] na [[/strikethrough]] nonsense like that. There are times when there is a certain feeling that I want in the painting but that is very rare -- it almost doesn't exist. You allow the thing to happen. Then, of course, there is the paint quality and what you want to do that way, and that's really what its all about. Its not about subject matter. For example, I could say that I painted myself as Athena and five other people could paint themselves as Athena and none of the paintings would be the same. So the subject is not important. Its how did you do the painting and what does it look like.

I don't really want someone to look at my paintings with my words in their ears. Background information on the artist can be provided, but it should not determine the viewer's reaction to the painting. 

Transcription Notes:
Some strikethrough notes are missing but overall it dosen't detract from the main point of the text.