Even as I struggle to sort out where the still life objects will go, I realize there is still a way to get back into the painting: I can work on the flowers. They are the longing at the center of the whole.
If I find that I really need simply to paint, I can do that. I can paint the flowers. I can also work more on the landscape seen through the window.
But I must be careful because even these distant features are influenced by the still life that will sit below — they are influenced and they will exert an influence. The whole painting has to operate together as one comprehensive spectacle.