I used various new techniques to get the paint to behave differently. I like to degrade the surface to keep it from looking too smooth. I want it to look both rigidly uniform, but weathered, like a piece of modernist architecture that hasn't been maintained.
I asked my studio colleague for her opinion the other day, and apart from finding the current colours 'revolting', she observed that it's not the composition that seems to interest me, but the lines on the surface. She said it's no longer a painting, it's an installation.
I find that perhaps it's more like a sculpture, because I'm constantly attacking the surface with a knife, or peeling bits off, or waiting until the paint is like a kind of plastic cement, and trying to mould it.
Since these pictures were taken, the painting has changed again, which is why I won't show photos of the whole piece. And also because I assume people will find it as anticlimactic as I do.