When I feel it's right, I introduce another colour. This time it's much more difficult to have a relationship only to this new colour for I must be true to the colour that I'm introducing it into. This is tricky. For instance, if the colour that I began with was blue, the next colour such as red would have to take on the blue colour as well as its own, thus becoming violet. Yet because of the nature of watercolour, there would also be some places of red and some places of blue. Now I not only have blue but also red and violet.

This slow meditative process leaves me with an intimate knowledge of each colour, as I experience a colour's quality, form and gesture. From here, my imagination is awakened and I may bring this colour combination into a fantasy picture with a motive.

Painting a landscape is very different to developing a relationship with colours, I try to find a connection with an actual landscape by opening myself through colour, as well as through all my senses. The result is an impression or an interpretation of what I have lived in that landscape in a particular moment. At this point I may begin with painting by focusing on colour, form, or possibly just the gesture a landscape suggests. In the end, I hope the painting conveys something about a certain country or day that I spend within the landscape.