These days I may start a painting by thinking of something Iíve noticed on my way to my workshop: a tree, the sky or a passing expression on someoneís face. I paint at a pace and concentration similar to the experience of drawing from life, except that now I have nothing but a slight sensation or mood to guide me.

As the painting develops, a more settled working pattern emerges. This doesnít prevent some last minute switchbacks when elements demand further consideration. Sometimes I make alterations months or years later. I am never able to recall quite how each painting progresses from start to finish.

From feelings of pleasure or unease comes the next work.