When I make these repetitious scenes of the formal garden I start the drawing in different places. Sometimes I begin with the pointy tree on the left, sometimes with the one on the right, sometimes with the dark round tree in front. Each of the different beginnings seems like ways of taking a new path over familiar ground.
It’s true that I notice different features of the real landscape by varying the way I begin drawing it. But there’s an internal landscape whose topography is more crucial. And every new line explores that landscape in ways that bring actual discoveries, that chart brand new territories.
Sometimes drawing is a refinement of feeling. You might see the effect in the drawing, or you might not. But it needs a chance to occur in the artist’s mind so that in some future image it can be manifestly present, can be palpably visible to the spectator as surely as it was for the artist.