Recent work follows an evolving methodology. Squared grids provide the starting point for a kind of 'diagram' or 'mosaic' of tessellated triangular forms and hexads. It is a reflexive, systematic approach: which searches for a lucid, visual sense, something Mary Martin would describe as 'internal logic'. When making a triptych or a diptych I have the idea of mirroring or ghost images in mind. The starting points are objective explorations of the simple mathematics of symmetry, sequence and the possible disruptions of asymmetry. But this is only part of the journey. The aim is to achieve, through a paring down of visual ideas, something which investigates perception, intelligibility or clarity. During the process instinct and experience play a role in relation to weight of tone; colour nuance, consonance and dissonance. Painted panels are applied in glazes, either multi-layered or in much thinner washes. In others metallic or multi-coloured under-painting is revealed which, with the texture and weave of the linen, creates a kind of two-tone effect, becoming integral to the tonal composition. Whatever the intention, the finished work is never entirely as envisaged. It is the power of surprise is important: its Gestalt, or ability to be more than the sum of its parts.