We all think about these
explosive moments of painting and you’ve just witnessed some. But really de Kooning alternated those with some, very long periods of careful looking at his paintings. What we are really playing with is the intention between all of that conceptual perfection, and manual imprecision that we have,
because well you are a human, you make lots of mistakes. Because I am typically,
not always, but almost always I’ve worked on prime canvasses. There is not one way that Kusama made the infinity in that painting. There is no one way that Martin
made a greeded composition. So we are just exploring one approach here. A feel-free experiment quiet wildly from this. If you can hear that sound, that’s what a de Kooning painting sounds like.