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I concur in your admiration of this work, an interesting 'sketch', but I'd like to point out that a painting 'with almost no edges' would be, well, almost invisible. You probably mean 'with almost no outlines, or contours' because here, as in all paintings we can see, there are edges everywhere. The semantic nitpicking is important, I feel, because we DO want to make a sharp distinction between edges and outlines or contours, which of course are edges in themselves. But, in my view, it's important to see edges in ANY CHANGE between something and something else, between 'stroke and stroke, dab of color and dab of color', etc.
The more we become aware of edges as transitions, changes, no matter how subtle, between the contiguous elements of a painting, the more we can treat them with the loving care they deserve, greatly affecting, as I say in my previous post, the quality of what we paint as we affect the quality of what we see.
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