Bowling began the 1960’s as a figurative painter but moved increasingly into abstract territory whilst living and working in New York from 1966. By the end of the decade, he began to concentrate on purely pictorial issues relating to colour and composition. This transition from figuration to abstraction was accompanied by new working methods and his paintings became larger as he abandoned the easel, often pinning his canvases to his studio walls or floor. By 1975, the year he painted Swingingate Bowling began referring to his work as 'poured paintings' and as with this example spontaneity and chance became important working methods.