A traditional idea of painting is that the horse (the idea) precedes the cart (the finished painting) and pulls it towards a largely related conclusion. In my studio, the opposite applies. The vaguest of ideas might get me started but I respond more actively to what the paint suggests. I find lighting, combinations of color, shapes, moods and figures by moving paint around. With luck, an “accident” becomes so suggestive as a pointer to an idea that I follow it until the idea pans out, falls flat or demands some distance.