abstract, figurative and camouflage
. . . well . . . "camouflaged" implies that I was crawling around hiding things. Not at all.
Since many of these pictures are partially grounded in abstract work, I have the option of leaving nameless fragments and remnants lying around. I may stop working on an image while it still has one paw stuck in compositional play.
That allows the more identifiable elements to crouch there and take their time to appear and be named. I like observing how I can hear the word “bird” and an owl can appear out of a bunch of spots. It demonstrates how my ideas -- justified, interesting or not -- not only color but absolutely determine what I perceive.
. . . observing this not as something to try to rebel against but as a general condition of our heavily hallucinated "reality."
Different things appear and get names first for different people. It's part of this approach to respect others’ abilities to find their own versions of an image rather than spoon-feeding them, although giving titles to pictures can add guidance, nuance, even humor.
The . . . slower . . . time it takes to observe a picture is an important part of what this sort of composition is about.