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My experience finds it immaterial whether I do or do not begin a work with an intended destination in mind. Simply being attentive and moving the pencil or brush across the surface can bring forth images and resolutions I never ever could have anticipated (as was the case in 2002 when my life's work in Abstract Expressionism shifted to representational imagery seemingly out of the blue). Conversely, and invariably, in those instances when I do start off with a vision, the intended image is quickly (and happily) surrendered to process and rendered unrecognizable. In the end, the original guiding image is fulfilled in the prompt that first set the brush or pencil in motion. Thinking or not thinking, both can improve painting.