My Process of Painting

I've been asked a few times what is meant by "process-driven" work. Simply put, it means I don't plan the work beforehand; I let the process lead me intuitively. Of course, there are occasional exceptions—for instance, when I finish a piece and feel the need to create a second one in the same vein. But even in those cases, very little planning is involved.

What’s important to me is not overthinking it, staying loose and relaxed, and trusting that the process will lead to a good result in the end.

Here, I’m breaking down my painting process by documenting key stages and offering a brief summary of how it works from start to finish.

Step 1

I start by painting a solid color, which could either be very light or dark. In this case, I began with peach, followed by a darker shade of rose. Then, I use a Berol marker to make marks all over the surface, followed by Prussian blue paint for the lines. This is the fun part—I don't plan the composition or think about what the painting is "about." Doing it this way ensures that I keep the process spontaneous and loose.

Step 2

After filling in a lot of blue lines, I decided to turn the canvas upside down at this point, as the composition was beginning to look very interesting. You can see how the composition instinctively emerges from the mark-making.

Then, I decided to leave the canvas aside for a few days to finish another painting instead. (I find this process useful, as starting a new painting can serve as a warm-up session before completing a different piece.)

Step 3

After a few days of staring at this composition, I felt the color green calling out to me, as it creates a great contrast with the background colors. I added various shades of green, from phthalo to lime, emerald, viridian, and olive greens.

At this point, the composition had a lot more structure, and I felt an urge to connect the bottom part of the painting to the top. Again, process-driven work is guided by small urges like these, so it's important to follow them closely. I reached for Prussian Blue and connected these two areas with long, straggly lines. I’m satisfied with it, but I’m not sure where to go from here.

So, this feels like a good time to take a break and do something different.

Step 4

The next day, I suddenly knew what I needed to do. I used quick brushstrokes to fill in various shapes. I didn't care too much about making them smooth, as I wanted to keep them dynamic and vibrant.

I took a picture of it so I could look at it on my phone; this helps me ensure it has enough contrast and balance. I also checked it in the mirror and turned it upside down to make sure it was balanced either way. I’m pretty happy with it and feel that it’s almost done.

It’s good to sleep on it before finishing. Sometimes, the paint can look slightly different the next day, and I’ll notice areas that either need toning down or emphasizing.

Step 5

For the final touches, I decided to smooth out some of the rough brushstrokes, while leaving a few peeking through. I used white to tone down some of the brighter colors.

And that’s it! I catch myself smiling at it, and I’m totally happy with the result—so I know I’m done!

I just want to add that the process doesn’t always go smoothly. Sometimes, I do overthink things, and everything just looks wrong to me. Other times, I have too much on my mind, and I can’t quite figure out what my gut is telling me. In those cases, I just throw it away and start over. It’s painful, but it’s all part of the process!

In the end, creating a process-driven painting is all about trusting your instincts and allowing the artwork to unfold naturally. By letting go of rigid planning and following spontaneous urges, the piece evolves in unexpected ways, making the journey as fulfilling as the final result. The little steps, pauses, and even doubts along the way are all part of this organic process. Each time I approach the canvas, I’m reminded that art doesn’t always need a clear destination—it’s the process itself that brings it to life.