The First Mark

The first mark is always the most dangerous.

There’s nothing to hide behind—no structure, no composition, no safety net. Just instinct and commitment. That’s why it matters so much.

If I hesitate, the energy disappears. If I overthink it, the painting starts dead. That first gesture has to come from somewhere deeper than logic. It’s not about being right—it’s about being alive in the moment and willing to commit without certainty.

What collectors don’t always see is that the entire painting grows from that first mark. Even after layers, revisions, and adjustments, its energy remains. It sets the tone, the rhythm, and the emotional direction for everything that follows.

You may not be able to identify it directly, but you can feel it. It’s what gives the painting its pulse and its sense of movement.

When you look at abstract work, ask yourself: does it feel alive from the very beginning?
See how mine begin at christofwelsbyart.com