The crux of making art lies in the attitude to spontaneity and having a skill set to tackle problems as they arise. Problems that arise when things are being made – the friction of creativity. When you see strategies which are opaque the ‘content’ is stifled. A good sculptor puts bit of steel together. When he or she is doing so they are clearly not looking for a predetermined outcome which these pieces are going to fit into, rather they arelooking at the pressure points of how one piece of steel (which in itself offers up a momentum to work with) meets another – and how these points accumulate in complexity as more is made. A work starts and each new piece of steel has a consequence. After a time I would bet that certain ‘phrases’ exist and when new ones are created, adjustments could be made to earlier ones. Its about keepingmoving the stuff, checking, offering, finding specific ways to connect everything. It’s all about handling the steel to generate energy in the work. All the time working the air with the steel. Moving things, moving yourself. Bringing it back into painting – sight is fluid, we move, scan, scrutinise. This why Cézanne is so relevant - he is looking really hard, moving his eyes, checking, synthesising. This is the antithesis of plonk and display work in which the air is inert. You have to get the electricity into the work somehow. It can end up simple , but not simplistic, or it can be complex but not complicated. Ultimately this all takes an “humility” (there is no other way to explain it for me) Either you serve the work or it serves you – hence careerists will have less of a regard for the inquiry and more for the enquiries.