SFX: The voices are on L & R channels, making it feel as though the listener is in the middle of the conversation. 

SARAH ROBERTS:  

There it is! 

CAITLIN HASKELL:  

There it is.  

ROBERTS:  

It has such a delicate shimmer to it. All the paint application is deceptively simple.  

HASKELL: Yeah. 

ROBERTS:  

It all kind of looks like it’s sitting on the surface; but if you spend time really looking at the layers that are there, it’s incredibly deeply layered.  

HASKELL:  

Yeah. 

ROBERTS: 

And it’s just this kind of symphony of grays. I don’t know, I just think it’s beautiful. 

HASKELL:  

I think the objects that are there are kind of just an excuse to make a painting.  

ROBERTS:  

Just an excuse—exactly! Well, and he-he made paintings very much like this over and over and over again with a stockpile of objects that he just, you know, would kind of arrange and rearrange… 

SFX: Music, spare and contemplative rises slowly under the end of their conversation. 

ROBERTS:  

It’s very quiet. And, you know, if you get up close and really look… 

SFX: under her words: The whisper of a paint-filled brush sliding across the canvas. 

ROBERTS:  

You can feel what the paint felt like on the tip of the brush —- kind of sliding across the surface of the canvas. It has this very kind of slow quality to the – (HASKELL:Yes!) — to the tactile nature of that brush mark.  

HASKELL:  

I think that’s also one of the things that I really like about this painting is that I get a sense of the s– the slowness of life, you know, that he made time for painting … 

ROBERTS:  

And it asks us to make time to look at these individual objects and the way that they’re painted and the way, the way they come together in this composition on this canvas.  

HASKELL: 

Yeah, to allow life to be this simple for just a moment.  

ROBERTS:  

Yeah, exactly. 

SFX: MUSIC fades out.