The actual basis of colour is instability. Once you accept that in lieu of something which is stable, which is form, you are dealing with something which is unstable in its basic character, you begin to get a way of dealing with it.
As a painter today you have to work without that essential platform. But if one does not deceive oneself and accepts this lack of certainty, other things may come into play.
I work on two levels. I occupy my conscious mind with things to do, lines to draw, movements to organize, rhythms to invent. In fact, I keep myself occupied. But that allows other things to happen which I'm not controlling... the more I exercise my conscious mind, the more open the other things may find that they can come through.
The eye can travel over the surface in a way parallel to the way it moves over nature. It should feel caressed and soothed, experience frictions and ruptures, glide and drift. One moment, there will be nothing to look at and the next second the canvas seems to refill, to be crowded with visual events.