People can say all kinds of things but it either comes out of your gut or if it doesn't, then it's a problem. And I heard people who've been doing people, landscapes and then they say, 'I changed over to abstraction'. No, you can't do that. It has to be there, you know? And it's there from the very beginning. And when people say, 'I changed over to abstraction'... Like somebody, I knew somebody who did it recently because he couldn't sell the portraits, stuff like that. So now he's painting abstractions. It doesn't work that way, because there's nothing you can do about it, if the person wants to make the change, they make the change. But it is something that's just there and you don't have to reach out for it, it's just there. Because I remember when I did my first, so-called abstracts, small pieces, you know? And I had no desire to draw people. That is a problem with the universities. You go there and then you have a class, you have to go and draw the figures, the figures standing up there. It didn't… it just never appealed to me, that's about the second thing, I had enough of that and then I stopped doing that. But no one told you what to do and what not to do. It's something that comes from whatever experience. And that experience with me goes back to high school, you know? So it's either there or it's not there. What happens, as you grow older, it gets refined, it gets better, it has more arms, it has more legs, whatever, you know, it's in motion... the work is in motion, yeah. But it would be very difficult to say, I did that because I saw this. And that... no, it wasn't anything that you saw or anything that you ate, it just… it just comes and there it is, you know?