I don't have a plan per se when I start a painting. Sure, I do studies and collages but I'm looking for a place that looks like a feeling I have in gut. I don't really know what that looks like in the beginning.
When the piece starts to feel "right" I get a sense of closing in on it. Using different methods for getting there I don't have complete confidence I've arrived until the painting I'm looking at gives me a certain jolt.
Doing a series is more of that same process. I'll finish a painting that doesn't look like the past 10 or fifteen and think, "where the hell did you come from?" and go on to paint something else.
Usually, after a while, another will follow that looks like it's related to the last, it's there, certain similarities start to make themselves apparent.
"Family Portrait" was one of those paintings about a group of people that made me look back at "Meeting" quite differently.
The amorphous, dreamlike landscape and the tension between the figures made me understand it was a new suite of paintings. These described the emotional space around a sole being or between a group. Some of the quasi-human like forms might be relatives, lovers or opponents.
I suppose there's a bit of alienation that all the figures seem to carry. Maybe a bit more with "Hapless Thing". Stumbling around blind on three legs, I feel sorry for it.