Yeah, well, you know, I think we're all trained to do that. I grew up watching TV series, where you were lured on to one bit of narrative to the next and you could be watching, you know, the Waltons, and the Brady Bunch and all these other shows, but you're keeping those narratives together. You're, you're juggling that headspace, and maybe my generation analog with radio shows, who knows, but it just feels like we're trained to be multitasking all the time. And, and so as a result, you know, I think everyone's functioning with a hum of Attention Deficit all the time. For me personally, every painting has various stages where they need to be developed. And so this morning, I worked for 90 minutes on a painting where I'm just kind of blocking in, here's the warm areas, or the cool areas, these are the shapes, here's how you'll be able to achieve the goal of creating an envelope of light, you know, I can I can block that out. And that's, that's fun, because you can make big decisions and big mistakes and fix all that. But then I set it aside, and then I'll pull off something else. And like, oh, gosh, you know, this is really successful, except for these three areas that are bothering me. And so typically, I'll bring a painting back onto my easel 810 15 times during the course of its life. And in the end, it's done when no area shouts at me anymore. And you know, there's the filmmakers who say that no film is ever finished, it's abandoned. And, and there's that element with paintings to you get to a point where you're like, gosh, I love this, but I can love it to death. And I don't want to make something be so stilted. Because I'm still very interested in the characteristics of paint know, how loose can something be applied? How can I infer an area rather than describe an area? How can I build those relationships and color relationships, you know, I work with and this may seem strange, but I work with a really limited palette, you know, I have, I'm looking up at my workspace now I have, you know, 70 different colors of paint. But I could do a whole painting with four colors or five colors, because I'm, I'm working with my essentially a variation of red, yellow, blue, and making grays that are warm and cool and then modulating everything else. And so for me, the success of that is that I can have a real unified painting, because I've made those decisions. And I may occasionally add something in, you know, you look at 19th century English landscape painting, and it's just this wash of green. And sometimes there'll be a little touch of red on someone's scarf or a wagon in the different distance just to build that compliment and make all the colors hold together. And, and I studied with Harold Gregor, and can hold her primer primarily and a lot of that discussion was, you know, what are those color relationships and how can you add that thing? You know, we're always see these images of artists holding up their thumb at a painting, you know, and they're, they're doing two things really. One is they're blocking out an area and seeing how that changes the color relationships. If you take that color out. They're also measuring if that tree is as big as mine thumbnail in that person is about the same size. How does that? How does it work? So some of those things we see in depictions of artists working, are accurate. But you know, I don't think you can be a baseball player and watch many baseball movies and feel that someone has a natural swing. So it's just the same thing.