This was one of those things - you get the idea sort of wholly formed in your head and you almost break your neck to get it down. I have been thinking more about the full/empty idea, about crowding or stacking and contrasting that with empty space. Also, that format can be a vehicle for strong color relationships, which if they are successful, could carry the painting alone. Then there is the question of the ratio of light to dark (Peggi Kroll Roberts!) who says she tries to keep it 1/3: 2/3 dark or light - but what if it were all dark? Or all light? Or all saturated, etc. Justin Clayton did a winter landscape recently that was so uniformly dark as to not be there except for the pale moon. Very melancholy, I loved it. Very Albert Pinkham Ryder. In this one, anyway, I tried to crowd and isolate and also to let the light source be the green cloth. oooo I am in love with permanent green light.