The Paintings of Eastwood: Paint your wagon

It was the late 1970s.

I was 14 years old.

My parents had moved to California, and I’d grown up in the mountains of western New York.

My dad was a painter and my mom a carpenter.

We’d always been good friends, but I’d never actually gotten to paint myself.

I always imagined myself as a boy who’d always wanted to be a painter.

I remember my dad saying, “You know, I never painted you.

You’re just a normal boy.”

I remember him saying, “‘Boys’ isn’t a word that means ‘girl’ anymore.”

I was like, “Oh.”

But then I heard about the paintings.

They were paintings that my family had bought and put up in their garage.

My mom had been a painter for a long time, and my dad had just bought a painting studio in the hills outside of New York City.

So I said, “Okay, let’s paint it.”

So my dad took me on an excursion to the studio, and then my dad told me, “It’s gonna be the same old thing, you know?

The same old, old pictures.”

I was like: “I know, Dad.”

But the paintings weren’t the same.

They weren’t real paintings.

The paintings were paintings of the world.

So we walked into the studio and started to paint.

And then it hit me: I was painting paintings of this world.

It was like the painting of a world.

And I started to notice a certain thing: The world wasn’t looking right.

It wasn’t the way I wanted it to.

So there were things I had to learn, and so I painted.

And the paintings changed.

The first painting I did was a portrait of a young woman named Jane Fonda.

It’s a pretty, pretty portrait.

The world was very white and very blue.

I think I started out painting white, and now I’m painting white.

I’m trying to figure out what’s going on in my own mind.

But the first time I painted this painting I was really confused.

I didn’t know why I was doing it.

Then I started painting again.

And again, I started seeing something in the world, and the world looked more white.

But I knew something was wrong.

I could see that I wasn’t seeing it.

And so I started going in circles.

The next time I did it, I was thinking, “This is my whole world.

This is where I’m at.”

It was just my life, the way it was.

I just didn’t understand it.

I felt like I was in a dark place.

I thought, “Why are all these colors?”

And so the painting became more and more of this.

And I started drawing, thinking: This is my world.

I need to draw this world in the most beautiful way I can.

I’m a painter by profession.

And my job is to paint these pictures.

I know how to paint, and what to do.

But painting, painting, was the most powerful thing I could do in my life.

I would have been out of school and living in a trailer, and that’s what I wanted to do for the rest of my life and what I needed to do to get out of my home.

But what I really needed was to stop painting.

The paintings changed.

The painting became less white, more of a blue.

And it was hard to see what was going on.

I started looking for answers.

But to find them I had a lot of help.

I had an old man who lived in the house and I met him when I was 13.

And we talked.

I learned about painting, and about psychology, and how to work with art.

I went on a painting retreat.

I got a lot more help.

But all the advice came from him.

And he was an old friend.

So when I went in the painting studio, I went there to help him.

But he didn’t even know that I had gone in there to paint because he didn, and he was like—I don’t know.

He was just like, [Laughs.]

“It’s your life.”

I said: “Yeah, well, you’re my friend.”

He said, [Sighs] “You should see it.”

And I saw the painting.

I saw how it was painting this world, this world I didn, I didn’ know what was happening to it.

So the next time he came in, I just stood there and just looked.

And everything changed.

I went to my mom and said, You know, “I’m going to paint my own painting.”

I mean, I could paint a painting.

My mother was like [Laughing] “What’s the problem?”

And I said [Says] “I don’ know, but my father painted this.

I’ve been doing

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