The painter, when at a distance from the easel, can assess and analyse the whole of the work from this vantage. They scrutinise and listen, choose the next stroke to make, then approach the canvas to do it. Then, they step back again to see what they've done in relation to the whole. It is a dance of switching contexts, a pitter-patter pacing across the studio floor that produces a tight feedback loop between mark-making and mark-assessing.