As with many of Rebecca George’s pieces, the final version of “Polishing the Mirror” was the result of multiple layers and shifts in palette, building wet-into-wet oil colors, made viscous with walnut and stand oil. Applied with various sized and shaped brushes, the pigment often merges with the still wet pigment underneath and removal by rag reveals earlier stages that have already dried, resulting in an image that could not have been arrived at through any other technique