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  In the progression series, the technique used in all the nude paintings is similar. The procedure here (using acrylic paint) is painting of a painting. The first painting--a more realistic one--is projected on the second canvas, and this second painting is projected on the third canvas, and so on while the figure becomes more and more abstract. The information from the original painting had progressively been lost and ended up as marks resembling calligraphy (See the series bellow).
The steps that I followed in making these paintings are unrelated, but they do end up integrated. Every mark on the canvas seems to be intentionally there, very much like some old Impressionist paintings.
The interesting thing about my Progression series is that the end results confirmed my view that the age-old notion of abstraction, expression, and emotion does not hold water, and does not square off with our present knowledge about the brain and mind.
The process here took over and led to an abstract image, which I neither anticipated nor intended. Likewise, the final product contained emotional overtones that appeared without any intention on my part.