March 29, 2022 – Experimenting With Polyptychs, Part 1 – Separating, or Joining Panels While Painting : How Does it Affect My Creativity?

Turquoise Waves March 2022, 20x50 inches, 5 panel polyptych ©Felipe Adan Lerma
Turquoise Waves March 2022, 20×50 inches, 5 panel polyptych ©Felipe Adan Lerma

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 —

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 —

Turquoise Impressionist Abstract 1 ©Felipe Adan Lerma 12x24 acrylic on gallery wrapped canvas circa Feb 2022
Turquoise Impressionist Abstract 1 ©Felipe Adan Lerma 12×24 acrylic on gallery wrapped canvas circa Feb 2022

Related blog posts 😊

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 ☺️

detail, Turquoise Waves March 2022, 20x50 inches, 5 panel polyptych ©Felipe Adan Lerma
detail, Turquoise Waves March 2022, 20×50 inches, 5 panel polyptych ©Felipe Adan Lerma

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! 💕


– my blog posts re Polyptychs 😊

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Thanks again, everyone! 😊


Artist self portrait - photo of Felipe Adan Lerma on converted railway track bike ferry for the Island Line Trail connecting mainland Vermont to South Hero on Lake Champlain.

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One comment

  1. […] my blog posting pace for 2-3 days with health & other related issues, I wanted to follow-up yesterdays Part 1 in my current art blog post series – Experimenting With Polyptychs.Trying out painting the […]

    Liked by 1 person

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