Whatever I Do Seems Artificial And False,

Object In/ And Space - The First Impulse May Be To Give The Object - A Position - To Place The Object. (the Object Had A Position To Begin With.) Next - To Change The Position Of The Object. - Rauschenberg's Early Sculptures - A Board With Some Rocks On It. The Rocks Can Be Anywhere On The Board. - Cage's Japanese Rock Garden - The Rocks Can Be Anywhere (within The Garden).

The Thing Is, If You Believe In The Unconscious - And I Do - There's Room For All Kinds Of Possibilities That I Don't Know How You Prove One Way Or Another.

As One Gets Older One Sees Many More Paths That Could Be Taken. Artists Sense Within Their Own Work That Kind Of Swelling Of Possibilities, Which May Seem A Freedom Or A Confusion.

Early On I Was Very Involved With The Notion Of The Painting As An Object And Tended To Attack That Idea From Different Directions.

Donald Judd Spoke Of A 'neutral' Surface, But What Is Meant? Neutrality Must Involve Some Relationship (to Other Ways Of Painting, Thinking?) He Would Have To Include These In His Work To Establish The Neutrality Of That Surface. He Also Used 'non' Or 'not' - Expressive - This Is An Early Problem - A Negative Solution Or - Expression Of New Sense - Which Can Help One Into - What One Has Not Known. 'neutral' Expresses An Intention.