Each mark is a single gesture executed with maximum energy.
I'm aiming for something that lies between a stripe and a drip:
In the Infanti-esque paintings, I used drips, either letting them run straight down, or tilting and shaking the canvas to make them take tortuous paths. However, as I was manipulating more than one wet drip at a time, these paths ran strictly parallel to one another, as they were subjected to identical forces.
Parallel paths is therefore a property of drips. And sharp deviations from straight lines signify energy being added to the system. Both properties have been contrived here.
Using chisel tip marker pens gives a deliberate vertical height to each horizontal stroke that isn't too small in relation to the overall height of the image and intended viewing distance. This lends a quantised, digital quality, which was also evident in the wound tape paintings 29 Parallel Stripes and Beyond Yes and No.