I made the smallest adjustment to this area and it delighted me: I shifted the edges. Before I took the scissors to it, there was a straight line along the bottom. Straight. The message was of the edge of a piece of paper or drawing. But this hangs freely.

I still echo that straight line edge in several other areas of the piece, but not here. Here I want flow.

I love that the edges themselves carry so much import.

The idea is confirmed in this wonderful dialogue between Cartier-Bresson and David Hockney:

We first met in Paris in 1975. He immediately wanted to talk about drawing… and I always wanted to talk about photography. He said that what made a good photograph was geometry. I said, ” … it’s a matter of making a pattern, how you arrange it. It’s also about looking at the edges.” The edges counted particularly for Cartier – Bresson…

I’ve always loved paying attention to edges. In this case, it is particularly exciting because the edges either define the base of the implied mountain(s) or the absence of that base – which essentially brings in the awareness of the room itself as the base. You, the viewer are standing on the base. You are on the edge.

………………………………………….(Here he is. Otis on the edge.)……………………………………