Most of the time in painting I'm weighing whether something is finished — the risk of pushing too far against the risk of stopping short, finding where the paint wants to be worked and where it wants to be left alone. Here that balance showed up beyond the composition, in how much paint went down against how much came off, and in the push and pull between texture and smooth surface. Cutting into the black areas, pulling paint away rather than adding it, I felt less like a painter than an engraver working a lino block — taking material away to reveal what was underneath.