Painting Small, Painting Large

“Small but full of motion.” One of Sonya Edwards’ new small-scale works, painted during a week of intentional studio time exploring quiet focus and layered detail.

This past week, I spent seven full days in the studio working solely on small pieces—and I’ve been loving it. The shift made me pause and think about how different it feels to work small versus large.

When I’m painting on a large canvas, there’s room to move. My whole body gets involved—the brush arcs wide, the gestures feel freer, bolder, a little wilder. The space invites me to explore, to play with composition, to see where color wants to go. It’s as if the scale itself gives me permission to let go and expand, to paint with instinct rather than plan.

But when I’m working small, the energy changes. The boundaries feel closer, and that smaller space asks for more intention. I move slower, more thoughtfully. Every brushstroke feels deliberate, and I’m more aware of how each mark interacts with the others. There’s still looseness and flow, but it’s contained—like quiet concentration compared to the broad sweep of movement on a larger surface.

After spending the week focused on small works, I’ve found a deep appreciation for that slower rhythm—the intimacy and care that small pieces ask for. Each one feels complete in its own way, balanced and intentional, yet still full of motion.

Each scale brings its own kind of rhythm. Large works carry momentum—wide gestures, open air, a sense of freedom. Small pieces invite focus—slower pacing, careful layering, and attention to detail. I love the balance between the two. The large teaches me to let go; the small reminds me to listen.