I started making a painting that looked like people reincarnating into flowers, or starting to be intermixed with flora and fauna, and machines too. They were sort of pieces of flesh starting to be connected to machines, or to flowers, and I did those, and the images cut in shards so that with the least amount of suggestion, you could see an image of something, yet there was a whole ground to put another image in. There was a lot of area left over. And then that would be a specific image. And then the mixture of both of those, I was hoping for a third image. It would be as if… all artists have cross-hatched, including Michelangelo and Rembrandt and everybody — and that’s like scribbling, “Chhh chhh chhh” like that. And in those scribbles, I was doing one day, and in that, I thought, “Hey, in this cross-hatching, I could, like this for instance, put two images, overlap like this.” You could see both images at the same time and still have more area to paint in. And you could even describe with pieces of imagery, which no one has done before, yet. So, I mean, using imagery as a sketch to describe another image. That would be really confusing, or illuminating. So that was one inspiration.