Sebbie on a box

The latest Sebbie is almost done.  Here's a (possibly slightly blurry) picture of both canvases sitting on a box:

Also in the news, Incognito and Night Flight have made it safely to Marine Arts Gallery in Salem, MA, after bravely facing some car trouble adventures with me. If you're in the area, it's a lovely gallery to visit.

               Incognito

               Night Flight

               

       

New Sebbie on the way

I've started a new Sebbie piece, and it's a twofer (which, incidentally, is actually a word now--ah, the evolution of language). For me, the edge of the painting is an important element of the composition--I always fit the canvas to the composition, never the other way around, and I've always been drawn to pieces comprised of more than one panel--diptychs, triptychs, etc. Why did the artist cut through the image where she did? What does it do for the hierarchy of importance within the composition? How does it engage the viewer differently? What would be lost if the multiple panels had been one? I don't often work that way, because it isn't something that usually works for my compositions, but for this piece, I felt two canvases was the perfect number.