Since the 1940's, when Jackson Pollock made his pictures by dripping and splattering paint on canvas, one aspect of modern painting has been concerned with the relationship between the process of painting and the development of the image. In particular, there has been a great deal of exploration in the methods of relating the image of the painting to the dynamics of its production. This approach balances on the edge between retaining complete control over working procedures and accepting chance or accident, neither forcing the former nor seeking to conceal the latter.

Some ten years ago, Robert Scott began to make his paintings by spraying layers of colour on his canvases and the raking his fingers through the paint. The overall formula appearance of the paintings developed through the pattern of grooves within the paint. This method also created the surface colour of the work as his raking disturbed and mixed the colour layers. In his most recent paintings, however, he has moved away from 'raking,' and has developed two contrasting approaches to the surfaces. One method builds the surfaces in high relief, the paint swept up like wave crests on the point of turning. He generally uses the dominant colour, its effective range increased by the light breaking on the uneven paint surface. The second approach, found in the commissioned works "Cinitsua" and "Cinesubobus", involves spraying and splattering paint. Relatively thin layers of colours play against one another in contrasting hues and graphic structures.