Painting at the time was still being informed by very physical aspects of reality. This came out in the materials. I used a bucket of White and one of Black. Mixed with wax which made it again very physical the brush strokes, there.
The content was very present in the landscape and why landscape has held me today looking for places like this.
WS said, " that for him reality was an affair of places, and not people" something like that.
McCracken had been criticized for being illusionistic and being from NY I talked him out of the shiny reflective surface. A mistake as they would still exist today if they had retained that preciousness-- though what I was against was--for the exact now of the making and just what the materials exactly were. To get to that high finish was beyond my patience for the immediate.
The brush strokes of the painting lead me back to drawing which I saw and felt to excise was censoring. I though maybe automatism was interesting but realized much of it was too conscious and it felt fake.
Later I'd find that WS dictum of "knowing it to be a fiction and to use what sufficed" whas where I was located. I enjoyed the making of narrative from the experiences of what happened-- and took it as reality -- the more poetic the better-- as I was making up -- my self.
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