When the pose is chosen, I refine
it down to its essence during an initial period of "no-painting" during
which I sit in meditation and see the model in more-and-more
detail and, simultaneously, in less-and-less detail. As a whole,
all at once. It is only when I feel the impulse to move begin
to course through my hands as they rest in my lap,
that I know it is time to pick up a brush. Once I see something
and feel something, the paintings themselves come off in short
order one after another.
