By Ellen H. Johnson
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They are all statements of my identity and come from. the constant work stream. . I belong with painters, in a sense; and all my early fxiends were painters beeause we all studied together. And X never conceived of myself as anything other than a painter because my work came right through the raised surface and color and objects applied to the surface. Some of the greatest contributions to sculpture of the twentieth century are by painters, Wad it not been for painters, sculpture woutd be in a very sorry position.
Nature is a great organized thing, an intelligence in itself. But when that's filtered through the human mind, it becomes another thing. I identify with one, but I work a Iittle bit more through the other. Of course, we have lived with w a d through the ages: the furniture in the houw, the Asors of the houses. There was a time be-fore cement when the sidewajks were made of wood. Maybe my eye has a gteat memory of many centuries. And maybe there's something a b u t wood that is closer to the feminine, too.
And if the work is good work, it is built on these laws and principles that we have within ourselves. . I don't say I'm born with a perfeet eye, but I'm born with the rightness of my k i n g . 1 have a mind for what I need. That's s h y I can du so much. I just don't have any trouble. ""So I restrain myself from saying it, But I am sure, Let's face it.. . Well, I knew X had it, and I also knew I had the energy of many people. I'VE! always had it. So I'm pdific, to begin with; but I'm also prolific b c a u s e 1 know how to use time.
American Artists On Art: From 1940 To 1980 by Ellen H. Johnson