To capture the luminous reality of her spring garden, Falk dilutes the oil paint in a lot of medium, which she then applies very thinly, giving the surface the quality of a bright sunny day. Falk cites the French painter Bonnard as an inspiration for this work. Her choice of images and symbols of the garden - tulips, small evergreen trees, lawn, delphiniums and poppies - are very personal, and her attention to certain motifs such as the tea cup and spoon that recur in several of the panels, reveals her witty and whimsical treatment of the common objects of every day life.
Border in Four Parts sits between autobiography - remembered gardens of childhood, newly experienced gardens of middle age - and the nature-culture issue that was explored in the seventies in contemporary photographs of gardens and urban and suburban development.
Falk repeated the photographic and painting process of this work in two other paintings, West Border in Five Parts, and Lawn in Three Parts.
Considering the border, mathematically we can compare the area of the border to the area of the internal image. It is also interesting to compare the percentage of the work used to represent the border and the percentage used for the image.
Alluding to the thoughts of Xeno's paradox and the limiting notions of introductory calculus, consider the small distance that separates the different panels, compared to the immense size of the entire work.