Oil paint is potentially a substance that is dry. If I use it when it's completely wet I am in the throws of an actuality decided by a condition that is the opposite to it's potential. Whilst it is drying there is a tendency to keep checking if it is ready to apply another layer. This is a bit like testing the water of a bath-a pointless activity. I may as well either leave it at the first decisions or do so many paintings that I could only return back to some of them months later. As an analogy, I would prefer to jump straight into the bath and get the timing perfect.

First decisions on the canvas are adequate enough and it isn't a positive thought process to try desperately to improve on them, therefore a process needs to be established so that we are not constantly judging the work as a good painting or bad painting. For instance in my portraits, I first sketch from life, then I use a full limited pallet and later introduce white paint from photos. This is standard practise. Inventing your own process however is a lot harder, which is the task I have to face with the seascapes. I am currently trying to marry something very sculptural with a  2 dimensional mind set, which includes constructing the frames and experimenting with a heavy coarse surface, using lots of masking tape to assist in the application of  rabbit skin glue and the compositions.

However I have realised that the original theory that I coined as Successionist does still seem to apply but it was formed in an accidental way. Whether it is necessitated or not necessitated makes no difference. The masking tape on the Jute is necessary in the preparation of rabbit skin glue because it prevents it from sticking to the box frame, which makes it easier for re stretching. I am now free to play around with something that isn't necessitated.