I work without the aid of preparatory drawings. On each particular day when I am at the studio I am painting the world as I recall it. Like a visual diary on a single atemporal page. I initially lay down washes of pale colour. This is a more sympathetic veil than the stark white of a primer. I then include figurative elements (both animal and human) that I have seen in real life or that I have imagined. This is the beginning of an unfolding. Over time what already exists on the canvas dictates what comes next. Sometimes elements are erased and replaced. But often not: when crowded images threaten to overwhelm or when contradictions of scale might confuse, then the painting has run its course.