A red chair against a quiet wall, drawn because one stubborn object can carry an entire composition if you leave it enough room.
Notes
Mostly wall
This one begins with the chair and then ruthlessly clears the room around it. The setting is invented. The wall lengths, the window, the shadow shapes, the balance of empty space, all of it exists to put one red chair in exactly the right place and then get out of its way.
Very little happens here, which is the point. Two thirds of the frame is wall. The horizon sits low. The chair is small and pushed right. The left side needs that red vertical field to keep your eye from escaping, which is the kind of sentence that makes composition sound reasonable when in practice it is mostly intuition followed by stubbornness.
The light tells the time better than any added detail could. The chair’s shadow is short and hard. The other shadow enters from outside the frame and implies a whole unseen structure without paying rent in the composition. That is useful behavior from a shadow.
Seven flat colors, and six of them are basically infrastructure. The chair is the only saturated note in a field of greys and dusty tones, so it gets to act like a subject simply by refusing to match its surroundings. Also, the slats took forever, because symmetry at that size is measured in a few unforgiving pixels.
