If a visitor come to the studio and says "Whats that going to be?" which happens all to often - like they will become privy to a secret - I can only say, I'll tell you what is is when it gets there. The point is that things suggest themselves. Why is a drawing in charcoal rather than ink? The reason can be as simple as having stumbled across a stick of charcoal before finding the ink. Arguements have raged over whether Picasso ended up with a blue period simply because that was all the paint he had. Actually it doesnt matter whether it was a deliberate reduction or - stumbling across those particulare colours - or using those colours deliberately. The art works, thats the point. The first principal is does the drawing, painting, sculpture etc work in its own terms as art. Thats why it is possible to get an intense feeling of the immutable and ongoing search for the one, the art statement which works - really works, and which cannot be pinpointed. It is why a massive Henry Moore bronze works, and why the Mertzbau hut on Heart Island in Molde Fjord in Norway which Shwitters lived in during the thirties - works. Both artists are not so far apart. Moore would go for walks and pick up pieces of bone - basicaly detritus - which he would then study and mould into marquettes. Shwitters would go for walks and pick up old ferry timetables, and build them into the Mertzbau. The search is the same, its the result of what is seen from the intitial object - detritus - which becomes really interesting. It is like finding the charcoal stick before the ink. It then beomes a choice - draw with it - make a mark - or use it for the barbeque and go looking for the ink, the piece of bone or the ferry timetable.
Art is like a personnal archeological dig, you dont actually know what you are going to find until you have found it.