The original painting, the largest and most expensive in the world, is now on display at the National Gallery of Art in Washington.
This story is part of USA TODAY’s 30 Most Influential People in Art: 40 Years of Iconoclasm series.
In the 1980s, when the painting was made, the idea of a glass painting came to me.
It wasn’t my imagination, I said.
The idea was that you could actually take a piece of glass and put it in a canvas.
The glass would reflect light back, and that would create a reflection that could be seen by the viewer.
You would then have an artistic canvas.
In this case, the canvas is the painting, which is a metaphor for how our lives and relationships are formed and how we relate to the world around us.
The original painting was originally made by Italian sculptor Stefano Mancuso, who used glass to make an impression of an elephant.
I thought it was an incredible piece, and it was the first piece of art I ever made.
I was really fascinated by the idea that the idea behind the painting could actually be made by humans, and this was one of the earliest paintings I made.
I began by painting the inside of a bowl, and then I would pour a small amount of paint into the bowl and then paint the outside of the bowl.
I would use a brush to paint a single layer of the inside, then I’d paint the entire outside of that bowl, leaving behind the bowl with a layer of paint.
I didn’t want to take that painting outside of my painting space because the bowl was so small and I had a big canvas.
But after a few months, I started to notice the pattern that the paint would begin to create in the painting.
As I painted, I would slowly paint the paint inside of the painting bowl until it was as dark as the sky.
And the paint on the outside was going to get darker and darker.
As time went on, I kept painting and painting until I had created a painting that was almost black and white.
Then I put the paint back in the bowl, poured another small amount into the painting and then continued to paint the painting on the inside until it looked as dark and black as the sun.
Then it was just a matter of taking the paint out of the bottle and putting it back in again.
It was a very complex process.
After I started painting, I had to make sure that the painting wasn’t too dry.
If it was, I could paint it with a lot of pressure.
I started using a brush, and the painting would be very difficult to paint.
The problem was that I was using a paint that was only 1.5 percent acrylic, and I could only do it with very dark paints.
I had no idea what the effect of the acrylic paint was going the other way.
So I would put a bit of the paint into a watercolor pen and just paint the color.
I tried to use only watercolor ink because that was all that was available at the time.
But as the paint dried, the ink would start to look like a dark, yellowish brown.
Then after about three months, the color would start coming out of it.
That’s when I started noticing that it would turn gray.
It would get really dark, and after about a year or two, the paint was starting to look as gray as the skies.
The only thing I could do was to wait until it got so dark that I could’t paint anymore.
But then I decided that if I was going get into the real world, I was not going to paint in a world of glass.
I wanted to create an environment in which I could go in and work and explore and try and understand and make connections.
The world of painting in that time was different than what it is now, but the idea was to make it as real as possible.
I think I learned a lot about myself in that first year or so that I didn, in fact, do any painting, and my painting was one that I would do often.
One day, I came to my neighbor’s house and he told me about the painting he had just finished.
He was a big admirer of mine.
He had been thinking about it since he was a kid, and he was still thinking about the paintings that he had made.
So he came over and sat down and he started to paint this thing that he called a painting.
He called it a “cabildo,” which means “the cab” in Italian.
And he painted the cabildo.
I don’t know if it was a cabildo that he was painting in, but I’m sure it was.
And I went over to him and said, “I need to paint that.”
He said, ‘Well, I’ll take it.’
And I said, OK.
I’ll paint it.
He said that I had the biggest