The left and right darkest patches at the bottom seemed stoic, to the point of non-participation, I mused. I suppose the composition fit in the grand scheme of things; the left side being solid and dense, the right side vague and sparse, so it subscribed to the ying and yang notion of Chinese brush. I just wanted to accentuate the left side even more. I suppose the vertical contrast set the stage for drama.
Since I was rather impatient with this observation, it was more the reason for me to approach this with a little discipline, more so than I normally would.
I trimmed a few pieces of the same semi-sized Xuan and painted a few alternatives to the left bottom.
This is too much fun; alternative endings! Is there a Director' cut? I must be watching too much Blue-rays.
Scene I: Water Grass
Scene II: Thorny Branches
Scene III: Exaggerated Gradient
I then pinned these cutlets to my original painting for evaluation.
The water grass seemed out of place. Frivolous. I didn't like this at all.
I was hoping the thorny branches would garnish the theme of pathos. I do like the effect a lot; much better than the water grass anyways, yet the assembly looked odd. It was as though that part of the painting was speaking a different tongue. When everything else was sort of soupy, the branches became real pricks. It definitely brought out the contrast but the feeling was lost in the translation.
Needless to say the exaggerated gradient arrangement received my nod. The darkened area collaborated much better with the bend and projected a proper distance perception.
Armed with such analysis, I proceeded to my Director's cut! The last leg of my journey!
