Sera helped choose nine additional paintings to pair with the lady in red, which she renamed, Black Clutch. She argued the other was a song title and didn't showcase the right tone. But her reasoning didn't stop there. She also believed the clutch was seemingly insignificant, just an accessory until someone got right on top of it-then the infinite details assaulted the viewer. It meant something to her, so I went with it.
I was horrible at these types of details. I never cataloged or named anything I worked on. I didn't take pictures as I painted or even final images for that matter. Local galleries were aware of that nuance that came with working with me, and they all made concessions for it, but Le Musée didn't make concessions. Thankfully, Sera seemed to enjoy it, and with that, she g
