Her initial representational painting would be done from life, out in the open air, then she would take the canvas home to her studio and work over it so that it took on an emotional resonance — something she
described as: «that
memory or dream thing I do that for me comes nearer reality than my objective kind of work».6 She painted on canvas with a very fine weave and coated it with a
special primer to make the surface extremely smooth, blending one colour into the next, making sure that the brushstrokes were invisible.