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.
![](https://i0.wp.com/www.salleyknightstudio.com/wp-content/uploads/2019/10/1695833_blog-02-07-17b.jpg?resize=300%2C200&ssl=1)
………………………………………….(Here he is. Otis on the edge.)……………………………………
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