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As a painter my work has often been involved [[strikethrough]] input from [[/strikethrough]] with other cultures and art. It is hard to articulate the process of [[strikethrough]] this [[/strikethrough]] an influence crossing from an obvious, i.e., lilteral one to what one may call a 'spiritual' response, and I do not have a preconceived notion of how exposure to [[strikethrough]] long admired [[/strikethrough]] Indian Art will affect my [[strikethrough]] own [[/strikethrough]] work.

For me the assimilation process is more [[strikethrough]] most [[/strikethrough]]effective when unself-conscious. It is more exciting to see an influence emerge unexpectedly and in its own time than to force an image or idea into one's work. Previous experience, especially with Greek art, has shown that a deeper 'inspiration' and power can take place much later and last far beyond the scope of the original cont act. In that case it took ten years, although I did do some paintings while I was in Greece and in the 50's did a series of paintings inspired by Greek mythology.

There are places in India to which, judging from photographs [[strikethrough]] reproductions [[/strikethrough]], I have a special affinity. Ajanta, certainly, and for decades, but also Mahamallapuiram, Elephanta, Rameswaram etc. A brief trip to India in 1989 was a revelation. There was work in the National Museum in Delhi far different from any I had seen in [[strikethrough]] this country [[/strikethrough]] the U.S. As someone always interested in archaeological sites, I fell totally in love with Fatiphur Sikri and it has both haunted me and whetted my appetite for more although it is certainly in a different category than the temples. While to date it has and I should think more powerful at an influ. of course he and I appeared only in a very minor way in a painting, I can anticipate a more subtle appearance at some future time.

I also have a particular interest in architecture and elements have often been used as subject matter in paintings and drawings. The temples of the south would undoubtely provide source material for more than anyone's normal creative lifespan. While I do want to see as much as I can situ, past experience has shown me that one can absorb only so much travel and looking at art before both eye fatigue and a desire for work set in.  Both in Italy and Greece my usual pattern was three weeks [[strikethrough]] work and [[/strikethrough]] of looking and then extended stops for work and assimilation [[strikethrough]] and sorting [[/strikethrough]] of what was seen. In Italy I stayed for three months in Florence and painted and took short trips from there. Before my Fulbright to France, I was able to travel to Greece and stayed in Delphi and, using that as a base, travelled to Çrete and the Peloponnesos. Aside from the paintings I did in Delphi I was able to do a few small works on the trip to [[strikethrough]] d [[/strikethrough]] wards France. More recently, on trips across the country in 1989, on my way to [[strikethrough]] a job [[/strikethrough]] teach in California, and to India, I took photographic notes and did some watercolors while travelling. Painting took place during my four month assignment to the University of California and after my return home. In fact a painting inspired by a visit to Monument Valley on the P&D in way CA way west, is now in the Camroon, cover by Art in Embassies.

My tentative plan in India would be to establish a studio in Delhi and travel from there. I would also like to establish a base of operations in the south for an extended period, possibly at Mysore or Madras.

As one can see from my resume I have been a visiting artist for almost 30 years and have taught at major institutions throughout the coun try. My assignments have covered virtually ev ery aspect of teaching [[strikethrough]] one [[/strikethrough]]