A continued conversation with the little bush.

Most of the business of painting is doggedness, a determination to see what more can come of repeated looking, whether it be the ongoing dialogue with the object observed or with the object being made. One can never have too much information or else one would have to invent it but that does not prevent changes being made: I'm thinking of how John Constable would move a willow or change the scale of something to further the composition. Editing becomes necessary often: the painting requires it. The bush is the focus of these paintings and to make it so requires suppressing a lot of information but extracting a lot too.