How painting works (2)

I think that painting is a focusing; a process of exaggeration and editing of a suggestion of reality. I can start with a skeleton, like a foundation illustration, perhaps taken from a life study or a photograph and then I start to manipulate that framework. All the time I am hoping for accidents with the paint as the accidents are usually the source of greatest productivity. Perhaps the accidents of paint give me a similar perspective as the viewer to the finished painting: the surprise at something fresh or something that is not immediately understood in its construction. This aspect of painting is like, perhaps, finding the uncontrolled intention.
I know when it’s right or, at least, tending towards right but I don’t know how to do it. If I knew how to do it, that there was a predetermined and guaranteed method, then it wouldn’t be the challenge that forces me to paint continually.
How can I explain to someone, and still sound rational, that I love the colour orange but cannot use it because I have never found the right orange for the right painting.
I’m not trying to be intentionally obscure but it is difficult trying to describe something in words that needs to be expressed in a visual language.

how-painting-works-2

painting on French TV

 

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