Every site is different: the supporting wall changes each time, as do the surroundings and the specific location. The requirements are always unique. First come the preparatory sketches, followed by the final full-scale cartoons; then, on-site, one must observe how the color reacts to the surface—whether it fades or retains its intensity. And finally, perched on precarious folding ladders or wobbly scaffolding, one paints the image onto the wall. Then, one waits—patiently—for it to dry, and for the aches in one’s muscles and bones to subside—an inevitable consequence of the contortionist-like positions required to carry out the work.