The choices you make in what you describe, and the medium you choose, will always be subject to an interpretation that has political implications. The choice to make work devoid of any explicit social content speaks as much of the maker’s world and aspirations as a work that carries an overt political agenda. All art is a reflection of choices made—omissions as well as submissions. The world your work describes is the world that you, the maker, promote.
Color is not neutral. It has an emotional component. Certain colors have specific associations and induce certain responses. Learn what they are. When you use color, try to determine and understand the accompanying emotional response and how to use it effectively. Color has a visceral impact.
It is a state of pure possibility until it is defined. Form exists in an oppositional relationship with formlessness. The dissolution of form is not only a powerful compositional device but is also metaphorically potent. Form accommodates a need to embody an idea or a perception. Formlessness challenges that very need and questions our sense of the immutability of things as we know them. Form is a vessel. It can be open or closed.
Embrace the happy accident. All forms of painting, film, photography, sculpture, printmaking, and nonmechanical modes of production produce unintended results. When a passage of underpainting looks ravishing, or some studio calamity produces an arresting effect, embrace the accident and incorporate it into the piece. Exploit the unexpected consequences of experimentation and process. If you see it, own it.