Yamamoto Baiitsu, Flowers and Plants of the Four Seasons, 1830s, pair of six-panel folding screens: ink and pigment on paper, Gitter-Yelen Collection. Photo © The Israel Museum, Jerusalem, by Elie Posner
Yamamoto Baiitsu, Flowers and Plants of the Four Seasons
view from a burrow 
Loved this print… it’s as if in isolating the elements of wood and flower against the emptiness of the void one frees thought into speculation rather than closing it down.
yeah, once the object is in the void it buzzes or hums in a new way – it represents both itself as object and also the quality of time each object is enveloped in. The folds create intervals in an otherwise unbroken flow – the natural imagery and continuation of branchings maintain openings and points of passage from one plane to the next. I agree that this type of structuring remains open to viewer speculation and creativity – thanks for the comment, really enjoying your blog –