As I gather these techniques and employ them well, this twenty piece approach becomes easier to understand. I was arguing with myself over the structure again. The initial questioning came with Scritch Scritch. I quelled this argument about a balanced composition sits better with most people. I cringed when I heard that for the first time. I credit my whole on Japanese art history classes and the intelligence of abstract compositions. I'm not a girl for taking the easy way out with radial placement. Nature does not always work like that. In the my pieces, the collaged foundation can move in multiple direction when you look for a line to follow. The resolution comes in building value ranges and textures. This seems the bast way to make a connection through so many disparate pieces of design forced together on one sheet of paper. The magic for me is working at a level close to the surface of the piece. There I find an equivalent to happy little trees and rivers. Whatever I resolve at that level, may not show through as I back away to get perspective. Even then, motion across the plain is still there. Marks become vibrations and color, for a change, takes a back seat to the masses that form and dissipate across the canvas. With this; I am happy.
As ever, stay hungry and curious.