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It was also during this same time that along with all this depression, this kind of environment, there was a Civil War going on in Spain. There were things that we identified with without too much knowledge of politics, of sociology or what have you. But in artists we felt a human kind of oneness, with all the tragedies of life. And somehow we began to try to put this down on paper. So what we had going for us was something that was beginning to form within us, a great sense of social identity with life. There wasn't that kind of introspection that sometimes takes place in artists today where he can sometimes in certain environments can remove himself from life and live in a studio that's a little island unto itself removed from everyday living, the struggles of living. So while in the broad framework there were these things that were inspiring and were laying the foundation for the works that I do today, the social consciousness, the people I came in contact with, the very exciting artists like Catherine Dunham, like Nelson Algrin, like Willard Motley, and the strong thing of wanting to say something even more immediate was in me, and that was my family. My father and my mother. You know, I used to see my mother when I'd go to work with her. I used to always wonder why did she have to scrub floors in these peoples houses and then come home and scrub our floor. And it used to disturb me. I used to be a little ashamed to see my mother do this. I used to be embarrassed 

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