“When you look at a painting,” he says, “your eye is drawn to the focal point. Light and dark together, the juxtaposition, that’s what draws the eye. The contrasts. Don’t let anyone tell you otherwise—because all of it is necessary. The highs and lows and the brights and darks.” He smiles. “And you don’t put the focus in the middle. So it might not be what you mean, or maybe it is, but off from center seems best to me.”
