"I have tried many times in artist's statements to explain how overriding is my attention to the compositional abstract design when I am working, though it is difficult to explain in words the painting process.Developing one's skill at representation is a bit like training for a sport, one just gets better till one hits one's own barriers. However I question that creativity in just honing a skill as in a sport.Stepping back from representation an artist encounters all manner of new problems that the dominant painted image usually disguises or minimises. One becomes more aware that one is managing relationships between marks, dynamics, and colours. Painting is no longer picture-making, it is now choreography. It immediately becomes a more creative activity.Every paint-mark I put down is concerned with its effect on, and effect from, the other marks already within the canvas rectangle; I make little attempt at making these marks the building-blocks of a recognisable image, yet to my constant surprise the image appears by itself over time. Observation is the source material for the marks I put down, but I choose tone, colour, and dynamic in my observation rather than detail. This I am sure is closer to how we perceive actuality.The magical yin-yang tension between the abstract construction of coloured marks and the image for me is one of the most important elements in painting, yet the hardest to convincingly achieve without one eclipsing the other."