These pictures are made using an unusually fluid technique (oilstick on A1 drafting film, with white paper underneath). They are 'improvisations' insofar as they are usually made in one session of about two-and-a-half hours (with improvised music in the background). I always begin by drawing a 'frame', within which I then make impulsive, gestural scribbles and marks, which are then worked into and over with brush, palette knife and by subsequent drawing; elaborating or transforming them, or even obliterating them completely. All colours are mixed on the (horizontal) surface, and because they are often quite strong, even when subject to these attacks, they leave various kinds of trace. As long as the paint is wet (it remains slippery on the surface for about 24 hours), shapes and colours can be shifted, wiped out and reformed with an exciting and dangerous ease. The result is usually an inchoate but strangely coherent 'field', in which subliminal forms are embedded, as if they were about to emerge from, or to return to, something I call 'The Ground of All Being' (the provisional title of this current series).