“A scene before me is information, and my thoughts about it is imagination. Those two are negotiated throughout the session.
“But I try never to forget that I’m making an interpretation called a painting first, then a record of what is there. As a result, I take great liberties with the scene. … It would be a shock to some to see where some of my best paintings were done.”
A painting needs poetry, a selection from the options presented. Convey the subject through your eyes, the artist’s eyes, rather than reproducing ‘everything you see’ on the canvas. (Think: a few words that say more than several long sentences, and engage your mind more too than long passages of descriptive prose.)
How do you decide what to include and what to exclude, what to emphasise, what colours to enhance? By trying and trying again, seeing how you feel about the result. By reducing detail, dancing between representation and suggestion, realism and abstract. By being willing to change things as you paint, rather than setting out everything rigidly before you pick up a brush. Judge the results from up close and from several metres away, as from a distance brushstrokes merge together and edges/shapes become more defined. Repeat.