Many of the subjects are archetypal, or symbolic, but not of anything needing a concrete answer. Rather a celebration of the unknown, and a peace of mind in not knowing what is next.

Within those symbolic sentiments
ARE HARBORED THEMES OF passage, catharsis and states of being or consciousness.
Those are the subjects.
To allow for those subjects and their compositions to materialize, there is respect for vision in real time.
 Honoring process, as it leads visionary work through evolution, is paramount to recognizing standard, as opposed to simply following the cues of others.
Standard, the guidelines learned from embodied experience, gives us the abiity to arrive at our own
​CONCEPTS, while honoring the influences of our predecessors.
If I have a modus operandi, it would be "more concept evolution in real time to minimize the detectable safety of conventional planning,
 (BEING congruent with liberal use of freely associated thoughts to promote spontaneous connections.)
I know that if
I stay true to the mechanics of my process, with freely associated thoughts, at the helm, the subjects will manifest themselves.
The mechanics of such a process requires the cause and effect of not one set plan, but an ongoing culmination of guidelines, (not rules) created in real time.
This fosters a growing vision that is evolving in each painting oF the series.

each of these paintings, identified by common ground,
are found comparatively amongst eachother.
with a protocol of:  #1 
honoring vision in real time, #2 freely associated thoughts, as they facilitate the connection of elements through common ground, so is the practice of focusing on themes that are only peripheral to the developing central idea. 
For example:

Maybe its a certain kind of music, plus the elation of a walk home in the rain after a special night as a peripheral theme, which gets played out in the background and middleground as nature and atmosphere.
This imprint of my actual life manifests on the panels before me:
The subject may appear bigger or more obvious, but the mood itself has collectively, the most non-negotiable influence.

Seeing what thoughts come forth, to commence spontaneous painting, without reservation, is essential to my process.
This is important to me because these moods define not only the nature of subjects, but sometimes more starkly, spaces and distance alone.
The idea is that between principle #1, #2, and peripheral themes, all to allow spontaneous painting, connections will be recognized to result in a coherent series of paintings!
This has been my process for as far back as I can remember, albeit recent hindsight confirmed. 
People ask, "What is your process?" so here it is ad nauseam.

It was not learned in a classroom.  
I adhere to a future epitaph which reads:

"When one's creative process becomes a non-negotiable act of identity, one's work becomes authentic."
​-Mark Obermayr-