Improvisert kvinnelig form

The interest, I think, lies in the fact that my palette-knife slabs, using vibrant reds like oxblood and crimson (and cut against a scraped white ground) are all very improvised in this painting. I'm allowing the form to grow from what in the beginning was almost random applications of paint, redoing and relayering, and from that, a shape began to form. The thin seam of yellow and turquoise left exposed adds a certain glow, but the blue triangle and the red dots is what turns this abstract into a recognisable form which outside of those three, tiny but significant, shapes are just colours balanced against each other. 

I find our lizard brains to be very interesting, puzzling input together and making sense of something that really is nothing at all. 

In the post-war gestural abstraction tradition.
Inspirations: Joan Mitchell & Per Kirkeby.