The goal is not to be concerned with the reconstruction of an anecdotal fact, but with the constitution of a pictorial fact.
The language is that of painting, and does not serve to represent either object, concept, or the invocation of an atmosphere.
The spatial illusion recedes and advances in accordance with the appearance and breakdown of the illusion to form.

What exists is not a narrative within a rectangle, but a sequence of lines, colours and textures which serve to both reconfirm and renounce that rectangle.
Ways of directing the focus are numerable, again not relying specifically on choice but rather on the chance element being circumstantial.
The decision is not made in preparation towards what should be, it relates to a persistent claim, made by the painting ,as to what treatment it demands next.
An irritation to that which doesn't feel complete provides the basis for a reaction.

The battle is in the attempt to contain the discipline necessary to ensure that a true response persists in the feedback between the painting and the self;
At all times retaining the essence of the intangible which created the initial impulse.