Making that palette took me around twenty sessions. The idea of reducing the colors proved to be phenomenal. The picture of the palette on the surface again carried me away, and I spent hours wondering what to do next to change its reception. I wanted to expose the fleshiness of the material, to draw out its nature. I found this at the point when I illuminated it. The palette became stained glass. I had freed the spirit of the material, the colors kept vibrating, uncoordinated, with neither plan nor picture. There is no abstract, figurative, perspective, composition, chiaroscuro, modelling, or reference to reality. Mission accomplished. What had only been in my imagination had finally become a reality. I realized I should start defining it.