The painting on the top was the first version I did of this painting and I thought it was a finished picture. But as I looked at it over the months I decided that it was too austere and perhaps I could push it further. So I added more objects on the window ledge, some yellow soap and a hint of a blue face washer on the sink, a yellow light fitting from my studio and the coloured rug. All these additions were added slowly because I took some time to decide what else I could add and took more time to wonder if what I added suited the picture.
The rug is the hardest thing I've ever painted. I don't use one-point perspective, I use only my eye to judge where to place things. I drew up the pattern on tracing paper and tried to add the pattern to the canvas but it didn't work and I had a number of attempts at this. The problem was the criss-cross patterns had to line up along the bottoms and their centres had to share a vertical and it took so many goes that I almost abandoned this pattern. Eventually I had the pattern and traced bits of it onto the canvas to use as a guide. The shadows traversing the patterns added more complexity but I'm glad I persevered.
I like the slippers and towel thrown casually on the floor as it suggests someone is present even though you cannot see them. It's this concept of presence through absence which has given me many ideas for pictures over the years.
Morning Light, 2026, oil on linen, 137 x 71 cm
