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5 I think of these "activities" as working through "automism" and abuse automism and material and return us to the "baby stuff" in the areas of painting, sculpture or human behavior. To me they go backward instead of forward. I feel that all these "activities" give me a controlled false sense of freedom because there are no limitations involved. To me, that kind of freedom means only extreme abuse of the material itself: Not one yard of the material but one hundred rolls of the material not one foot but one hundred miles not one second, but twelve hours. As the material and other physical factors take over, I am left with a false sense of "space" that is simply created by the material itself. I am there, confused, faced with a physical Sodom and Gomorrah, and a misused intelligence which I find pointless and the act of going through it utterly masochistic for the viewer. While seeing them I become either suffocated or bored stiff and I want to get out in the street for some real stuff like clear cutouts of the buildings, of the people, without traces of Surrealism, Dada and psychological extensions. "Cool" distant images of today. All these activities ostensibly "portraying the living" to me are "lifeless" as far as the art vocabulary is concerned. But I think of them as "impacts" that relate creatively to the theatre or performing arts or as a stimulant. As a sculptor, I feel that even with the greatest concentration, care and discipline, so many accidental things happen. I need no more. About Letters and Symbols of Communication: Symbols of communication are made to reach out and communicate. In my work, it all has to do with me trying to communicate with myself. The created art object is, for me, a way to reality. It all started because I was drawn to them, signs, newspapers, letters, amorphous lists of names in the halls of office buildings, business plaques made of bronze or stainless steel that are attached to the outside of various buildings. [[left margin]] [[?]] lifeless condition [[/left margin]]