Crooked House

The painting draws its name from a shape nestled near the center—a form that, to me, evokes a charmingly lopsided house or shed. The interplay of roofline and walls creates a subtle architectural rhythm that anchors the composition. Surrounding the piece, the empty border serves as a faux frame, a nod to the early twentieth-century Cubist masters Picasso and Braque, who often embraced this device to blur the boundaries between artwork and frame.