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Winters: The deliberate and purposeful nature of the activity is more extreme. There’s a higher degree of intent now. I’m trying to work as quickly as possible but each painting still takes the amount of time it needs to take. I don’t really have any control over that.

Levi Strauss: Looking at these paintings, one sees into a very complicated space, initially created by the transparency of the paint against the urgency of the grid. You have the knots, that are made from squares and rectangles painted so as to evoke spheres that are then set in motion, and these knots are suspended in a grid, with another grid behind, which is also in motion and bent or warped by radiating lines. Out of all this movement, the eye and mind create what can be a quite vertiginous space. I’m curious about how that space operates when you’re making the painting. Are you painting inside that space, or do you only go into it afterward, in viewing it?

Winters: No, I’m in the space. I mean, I’m not trying to manipulate it in a conscious way. I’m trying to feel my way through the process. It’s haptic. I’m building it right on the surface and the optical consequences are somehow woven into the surprise of the image itself. In some way, all the meaning is tied up in that space. It’s that Joycean condition about the organized chaos, the “chaosmos”. The painting is a product of all the conscious decisions that I have made but the result is something unforeseeable. It’s a paradoxical object.

TERRY WINTERS INTERVIEW

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