One of my (many) flaws is a misplaced desire for perfection. I've never dealt well with doing things 'wrong'. The trouble is, art isn't about right or wrong, it's not even about good or bad. Not as far as the artist should be concerned. My initial impressions of my own work are always completely off. If I hate a work while I am doing it, or think it a failure, the chances are, someone else will think it very good – and vice versa. I've wasted a lot of time (and ruined a lot of work) by trying too hard to make something 'right', something perfect.It's almost impossible to suspend my critical perspective while I work. Lately, though, I've been drawing a lot in order to get things more, well, 'wrong'. It's a method inspired by the late English film director, painter, set decorator, diarist and gardener, Derek Jarman, who argued that the pursuit of perfection stifled more good art than nurtured it. His view? You just did it, with whatever medium was to hand – and tried not to think about how something might (or might not) turn out. In his case, if he wanted to make a movie and he didn't have the budget for 35mm, he'd shoot on 16mm. If he couldn't afford 16mm he'd use Super 8, and if he couldn't afford the processing for that, he'd borrow a friends home video recorder and set-dress his living room. And if he got it all wrong, he'd do it again – or do something different. The important thing, for Jarman, was not to fuss too much about it. Just get something done.This new attitude appears to be working for me. I've been drawing and painting faster, looser, in pencil and black watercolour. I make ten or more pictures in less time than it would usually take for one. I notice 'flaws' in each, but resist 'correcting' them. As in people, the flaws usually turn out to be the most interesting elements.