Some of the Moby Dick works present a clearly defined boundary or profile, which closes them off—at least from the front. From the side they will look very different.
Frank Stella, Pitchpoling (D-17 1X) 1990
But what interests me is the articulation of form inside the closed profile, including, in this piece, the startling negative shapes, which as Wallace has pointed out are silhouettes. My own work has that too, only I don’t make the internal configuration obviously visible. The viewer has to stretch a bit to see it, as in the black shape below. Suggested forms.
Robert Linsley, Gray Oval 2004