When you work on a project, regardless of its nature, it's easy to focus on one small element and forget about the larger picture. This is why I step back when I am painting—I remove my readers and walk across the room, turn around, and look at the piece on the easel from a distance. It helps.
That said, most paintings have areas that appeal to me more than others. A painting of a broad landscape might have one tree that grabs me, or a seascape might have one particular corner that draws me in.
As an exercise in acceptable navel gazing, then, I now present to you details of some of my paintings without showing you the context of the piece. Use your imagination to put each one into some kind of context.
Here we go: