I try to find a compositional structure in the subject itself, in nature. . . I rely on the angle where the wall meets the floor as a constant reference point, and against that I oppose the movements of the model's limbs.
All I know for sure is that dreams are the pictures of states wanting to turn into processes. Dreams are maps of the beginning of an otherwise unchartered trip into the unknown. They are pictures of the unknown which appear in many channels. Because process work is body-oriented, I put a stress upon feelings, but dreams are not pictures of just feelings; they are pictures of the way the unknown is showing itself in a given moment.