Shortly before starting the series of stochastic paintings, my wife and I attended a performance by the New York City Ballet. It included a new Balanchine ballet choreographed to music by the mathematician and composer, Iannis Xenakis entitled Stochastics (Chance). Balanchine, being such a great choreographer, had given form to a series of random sounds and noises. Balanchine's ability to give structure to the bloops, zips and plops of Xenakis's stochastic music was inspiring. I applied the concept of chance to a realistic triptych that I was working on at the time. When I had finished the triptych, I decided to create a series of completely non-objective paintings using the techniques I had developed when working on the triptych.