I don’t have an answer for the title question yet, but I realized, if I wanted to explore that idea/question, I needed to start a blog post thread separate from my initiating blog post series when I 1st started exploring working with multiple canvas panels.

I’m calling this new thread – Experimenting With Polyptychs, and my 1st question to myself is, how will my creative flow and enjoyment change or vary between painting a polyptych with panels slightly separated, vs painting a polyptych with the panels squeezed together close as possible, even though the work is meant to be hung or shown with space between the panels?

In my 1st series thread, Rearranging My “Art Room” at Home for a New Endeavor : Polyptychs , I explored new-to-me surprises about working a multi-panel art piece, like —

• the surprising way individual side-by-side pairing of panels created their own potential stand-alone art work!
  https://felipeadanlerma.com/2022/03/18/march-18-2022-rearranging-my-art-room-at-home-for-a-new-endeavor-polyptychs-ie-art-on-2-or-more-panels-part-4-something-new-i-didnt-expect-painting-across-4-panels/
• the need for each panel to be signed, preferably front and back; possibly to prevent an exceptional or simply preferred pairing of panels being separated from the whole as a whole
  https://felipeadanlerma.com/2022/03/21/march-21-2022-rearranging-my-art-room-at-home-for-a-new-endeavor-polyptychs-ie-art-on-2-or-more-panels-part-5-signing-the-backs-of-each-of-4-panels/
• how incredibly varied & creative the joining of edges between 2 adjoining panels can be!
  https://felipeadanlerma.com/2022/03/25/march-25-2022-another-difference-between-multi-panel-art-polyptychs-and-single-canvas-work-working-the-edges-on-in-progress-red-blue-on-white/

Now, in my next post in this new thread, I hope to show and talk about what happened ( 1st time around anyways, ie, may differ for me next time around ) when – to solve regaining a stronger feeling of fluidity in my multi-panel work, I decide to paint the panels joined as closely together as separate stretch canvas panels would allow.

Turquoise Waves does carry “some” of the fluidity I feel / felt when creating most of my single panel abstracts, ie, like Turquoise Impressionist Abstract 1 below —

Granted, Turquoise Impressionist Abstract 1 is not only a single stretched canvas, it’s also much smaller than Turquoise Wave at top, the latter being FIVE panels nearly the size of the smaller painting immediately above.

Much easier, for me, to retain the kind of fluidity I feel good creating.

Plus, all those things in the list above – multiple signing locations, multiple continuities and edges – aren’t a consideration.

What I’m gonna try is — pressing the panels close together as I can, and, use larger palette knives I just received the last few days.

My chosen WordPress image size limitations, to limit costs and preserve my image storage space usually doesn’t do the justice to my originals my files on Fine Art America do, but I haven’t had time or the right light to get decent pics of these newer polyptychs ( not to mention still needing to sign the fronts of each panel ). Once they are up, Fine Art America’s full resolution preview tool can give viewers a much cleaner clearer look.

Meanwhile, here’s a detail shot from Turquoise Waves I hope you’ll like 🙏 😊

ps – the striated red & white paint lines were done via an old butter knife Sheila gave me ☺️

Stay well everyone! Explore the limits of your imagination! It’s said that, when you reach those limits, the edge, you’ll find a vista of new possibilities! 💕

Adan

– my blog posts re Polyptychs 😊
https://felipeadanlerma.com/tag/polyptychs/

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Thanks again, everyone! 😊

Adan

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