from WHERE does all this symmetry come?

Scrambling to understand my studio work now, please humor me.  When forced to describe innovations and materials in new work,  an understanding of it can be the by-product.  It has to do with left side and right side of the brain.   When confused, writing about it makes the problem at hand seem a little less foreign.  The artist can gain a little more perspective.  At least for me this is true.

I want somehow to pull off compositions made from the errata that seems to find itself here.  Juxtaposition can create meaning.  It can be funny, either intellectually, or visually.

Looking at the piece above, which is unfinished, one has to be aware of what is reflected in the window. The reflection becomes an active part of the composition.  How can I better use this or control this?

This piece is going to be about cups, or tea.  In this state, the stage of the composition is empty.  That is where the collection of cups will be.  Actually there are a few there now, as the piece is hanging on the side of the barn and stuff is added as I walk by.  Or taken away.  The taking away is the important part.

And why do I keep thinking about the baroque piece below when considering my MUCH more simple effort?  The columns, the pediment, the symmetry.

If the above piece keeps coming to mind, what can I learn from it?  What is the relationship between the two about?  Detail, mixed pattern, the politics of the Catholic church, sex?

The lead piece in this essay is also unfinished; it sits in the barn undergoing manipulation of shapes.  I have been walking by and tweaking for a week.  The length of time of the thought process helps.  It is definitely the mark of an older artist to find the first solution unacceptable.

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