Something I Never Quite got Around to Doing continues my recent move toward a more brushwork-forward approach, where the composition develops through accumulation and adjustment rather than strict planning. The painting is built from a loose aggregation of gestures—broad, semi-opaque smudges, quick vertical marks, and thin, dark linear elements—that intersect and interrupt one another across the surface.

There is an intentional imbalance in how space is handled. Certain areas are densely worked, layered with overlapping marks, while others remain more open or lightly touched. Rather than resolving these differences, I lean into them, allowing the composition to hold together through contrast and repetition. The darker lines act as a kind of scaffolding, moving across and through the painting, while the brighter, more diffuse forms establish a shifting ground.

Color plays a central role here, with cool blues and teals pushing against warmer yellows and reds, creating a sense of depth without relying on traditional spatial cues. The red, oval-like forms repeat across the surface, acting as visual anchors within the otherwise fluid field. The title suggests something deferred or unfinished, but the painting resists that reading—it feels complete in its openness, as if the work is less about arriving at a fixed endpoint and more about sustaining a state of ongoing possibility.