Paintings, such as Bay, which by nature are amassed from layers of deposited brushstrokes, have traditionally worked from the ‘ground’ to the ‘figure’ in the sense of differentiating figure/ground relationships in a work. Such an approach to paintings destroys much of the underpainting in a work for the purpose of resolving the compositional/aesthetic concerns of the artist. This body of work aims to employ a methodology of practice whereby the initial underpainting of a work is celebrated quite tangibly and visibly, in the final configuration of a work.