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Talking to Alan Shields

LATELY YOU’VE BEEN USING clusters and strings of threaded beads, draped into and over many of the newer paintings, as well as striped wands, long colored poles in canvas sheaths, gauze, ropes, and “see-through” grids. Can you describe your working process for any particular painting? What about the canvas hanging in the studio, called Don Duck Wiggly?

It got so complicated at the center, that I took it out. The cut-out piece then became a small beaded medallion (a separate painting in itself) about two inches in diameter. I did two rosettes like that—one is sewn with a lot of threads over paint, and it looks like a shoulder patch. The other is encrusted with beads.

In some of Stella’s black or silver banded paintings, it looked so tense at the center that he had to cut it out of the canvas also—although the exact structural reasons may have been different from yours.

He did that? But did he

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