Working small is a welcome change from my recent struggles with larger boards, and is also educational: For example, perhaps one way to address a large board is by dividing it into smaller sections for detailed work. Also, it is less intimidating to experiment with techniques on a smaller piece; one has less invested, especially at the later stages.
I had conceived of a theme of the four seasons as a way to approach the quartet of panels, to differentiate among them while at the same time relating them to each other. As often happens with what seems like a good initial idea, the theme didn't take me far except in the area of color, since I differentiated among spring, summer, fall, and winter in terms of hue. In terms of marks and composition, my actions were fairly random, and I couldn't identify lines, shapes, or divisions that self-differentiated as seasonal.
This morning I explored color interaction among closely related hues. I was partly inspired by a 2013 wall calendar of Rothko's works that I recently hung on the studio wall. I knew that I was not yet at a final surface, which gave me freedom to play and to steal ideas from the calendar. My main purpose was to create four surfaces that reinforced the color ideas that I was developing for each "season". I also used the opportunity to experiment with creating deliberately shaped patches of color with deliberate edges, whether sharp and well-defined or blurred and fuzzy. The image above is the result for the "spring" panel, which I find particularly pleasing.