It looks like you're applying the work with these really huge brushes, but what's the reality? How are you actually getting the paint onto the canvas?

I won't give away all secrets because, you know, that's part of being an artist, right? But, you know, it is something where I'm very physical with the paint and I do move it around as much as I can by any means and I'll let people's imagination go where they want with that remark, right? And part of it is like building up the layers, waiting for the layers to come through, chasing that luminosity and chasing that sense of light, right? And I often think that, like, you know, I wouldn't say I'm ever painting a particular day or experience, but living in the country now currently, you know, I do live in a beautiful area that, you know, you experience nature as soon as you look out the window.

And sometimes it is that dawn light, that strange light that comes through, but I think it's got a lot to do with, you know, just reacting to also the experience of the paint on the surface.

And sometimes... letting it just be that first one moment that happens too so not necessarily just going back over and over and over like it took me a long time to realize that sometimes the first marks were the best sometimes they were much more immediate sometimes it wasn't always about you know working into a painting for days and weeks i remember once having this very large canvas that i'd spent a long time preparing and um uh sitting there being like well had that one going for a couple of weeks and then literally i think i'd painted the painting in like maybe an hour and then was just like oh it's done right what do i do now because basically we weren't quite sure or i wasn't quite sure whether it was enough but learning over time to um just let things sit and part of my process is also taking photos along the way and looking at it on my camera, because somehow that allows me to separate myself enough from the actual image that I get to maybe consider compositionally, whether it's strong, whether it needs more movement, whether there's enough variation within there, whether I've got the color and the light the way I want it.

And sometimes even marking up on the image itself, a little bit of extra color to see what that would do to enhance it if I was to play with it even further.

So to me, like the act of painting is very much in the moment.

It's not something that I plan.

But can you talk a little bit about your relationship to color and how you've kind of developed your knowledge of color the way that you have it.