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Today, I really didn’t know what to do. I was thinking about this before I even went to studio. Do I add this figure or that one, do I work on some trees, the sky? What, eh? What to do?

Whatever I’ve already done needs plenty of further developing, and on top of that there are five of them, five paintings in this series that I want done before the year ends, all of them in the same stage, more or less.

So, walking in studio and right off the bat, this everything-but-the-kitchen-sink reality completely disappeared to be replaced by, you guessed it, the kitchen sink.

Now, there was only one thing to choose from, the one thing that wasn’t even on my dreaded ToDo list. That choice, that singular choice, was the ground, the land that anchors everything to the painting, the foreground standing for the future background.

I need a place to put, in the madness and tradition of the renaissance and/or the romantic periods’ methods, a bunch of naked people dancing together or serving tea with burritos and whatnot.

The moral of the story? Well, you just never know — not that you just never know about the moral, but you just never know whats going to happen. You just gots to show up, and it’s all fair-game at that point.