I don’t usually describe my work as muscular, but the bold, red, calligraphic gesture at the centre of this painting asserts itself unashamedly. It acts as the armature around which smaller panes of colour and dark circles float. These gestures are made with a very large brush with a continuous movement and there’s no room for error – they either work or they don’t. I try to let my hand lead and my head take a backseat, otherwise the mark can look contrived or too cautious.