This series began in a rehearsal room, with dancers, and was resolved slowly afterwards in the studio, here on the north coast of Cornwall. Behind it are years of classical training, which I draw on rather than adhere to: among other things, a method of glazed layers developed, originally, to paint rapture. I am using it for the ecstatic state a dancer enters when wholly absorbed, where colour and gesture stop describing a body and begin to behave like one. Dancers are where it comes nearest the surface, which is why I keep returning to them.