Traditional painting treats degradation as a flaw; in my process it is the primary visual language, proving that time-honoured ideals of stability are not required for a work to be complete. By sanding back layers, the panel’s weathered geological state bears a palimpsest of time, allowing chance and erosion to co-author the composition. Painted layers are methodically planned and executed, while the final aesthetic relies on the physically demanding act of mechanical deconstruction, bridging two opposing forces; rigid control and chaotic chance.