I find the act of painting abstract images considerably more demanding than figurative work. In the latter, the viewer’s eye is familiar with the world and it only takes a suggestive mark or two for the brain to know what the artist is conveying.
It is very different with abstract pieces. For me these fall into two categories.
Firstly, there is the work that I develop, literally, by abstraction – taking parts of a figurative drawing, often done on location or a portrait and developing them into shapes and colours that are one or more stages removed from reality. Examples of these on this web site are Corfe Castle, Two Vases, the portraits of medieval clowns known as Saltimbancos, Trapeze Lady, The Bishop, Mr. Jelly, The Silenced Burkha Girl and Anatomy.
Secondly, there are abstract images that have little or no origin in the real world but are simply shapes and colours that work together. Cradling Circles and Two Blue Shapes are examples
When the challenge of abstracting becomes too great, I revert to standard pieces such as Croft on Vatersay. Otherwise, I would go mad!