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homage to Geritol. I traded it to a West Coast painter called Jerry Gooch who had a drug induced schizophrenic breakdown and joined the Polarity Health Institute in Orcas Island Washington. And meanwhile his house burned down, and the painting was destroyed. I don't know if the painting has anything to do with this problems. Next. The Problem of R. And it has a lot of strange materials in it; ground glass, various putties, mixtures of my own concoction. One of my greatest ideas is that painting has a lot to do with cooking, the same processes are involved, and you should enjoy mixing up batches of things and applying them. I don't have a great deal of belief in materials as just a form of executing an image or something. I really believe that that the methods you use to construct something should be part of that thing. It should be like building a house. When you apply paint, you not only create an image, but you construct something like a wooden boat or a wooden airplane or a paint boat or a paint airplane. The materials always fascinate me, very much as eggs and oil and butter and trout have fascinated the French cooks. In fact, one of my observations is painting in acrylic is like low fat cooking, it's very hard to do. [laughter] Next.

This is called The Life and Times of Mordecai Brown. Mordecai Brown was a great baseball pitcher about 1890. Called three fingers Brown because he only had three fingers and he was able to roll the ball off the stumps of his fingers. And he apparently had the greatest, most wicked curve in history. It's about his life. I've always been interested in discursive painting, painting which tells a story that you can follow, but not too clearly. Next.

I've forgotten the title of this painting, but it has something to do with Western history, sort of a Mark Twain concept. Next. That's a bad slide of a painting I'm very fond of. I think it's taken in a packing room, and it's called Crossroads. It was inspired by a Joan Bennett, George Raft movie called Crossroads. And the story is about a San Francisco detective that catches a very rich young girl when she presumably murders her boyfriend, and she escapes to Bali, and he follows her, puts her in irons and catches her, and puts her on a boat to take her home, falls in love with her of course, takes her back to San Francisco, and then he proves that the butler did. Everything is happy ever after and thinking about that movie started the thought process which generated this painting. Next. This is kind of a dark slide of a series of paintings I had in a show about Paris about 1968 or 1967. And it's very notable for the right hand corner is a portrait of my dog, Dingo. Marvelous looking dog, he looked kind of like Cary Grant. [laughter]. Next.

It's another painting from the show. I don't know why I show these. I actually had much more work than this, I'm gradually replacing old slides with new slides and so forth, and I actually culled a lot of this, believe it or not, threw out about 20 slides. Now this slide is of a painting that I'm told hangs in a bank in Zürich, Switzerland. And I thought that a painting of a papillon and a log cabin would be impossible, a French collector or a Swiss collector would have to acquire it and I was right. I believe in [inaudible] but planning doesn't hurt. Next. OK, this is called the Taylor Brothers and the Great Northwest. I went to an art camp in Northern Saskatchewan, it reminds me of the Skowhegan area, the lake, and this is the second art camp I've been to. This is much the best, people are much nicer. The painting was generated out of the kind of terrain there. This is called the Dipolar Girls on the St. Lawrence River. It's my last painting I think I made on a cotton canvas. Next.

Leaves, from a Diary of a Horse Girl. Next. A Half Horse Life. Next. This is called cross

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