The Wood Grain Isn't Done Until It Hits the Edge

A 16:9 marquetry wood-inlay artwork, one irregularly shaped scene-slice floating free with no background at all — the surrounding area is completely transparent, alpha equals zero, never white or colored, no surface, no checkerboard pattern. The slice sits fully intact with clear transparent margin on every side, and the transparency extends uniformly to all four borders of the canvas. Inside that slice sits one small complete scene, built entirely from veneer pieces of different woods: a tall ship under full sail, its sails inlaid from pale maple and cherry, hull in dark walnut, riding waves inlaid from deep ebony and brown oak whose grain curls the opposite direction from the sails, and a sun disc in golden veneer above it all. Wood grain follows every form — horizontal through the sea, radial through the sails — with razor-thin dark seams running between every inlay piece. At its boundary, the marquetry ends the way a veneer sheet simply runs out: pieces end mid-shape, thin seams open into gaps, and small loose inlay fragments scatter off into the transparency, so the artwork reads as finished at its heart and unfinished at its rim. Soft directional light reveals the veneer's relief only within the slice itself. No text appears anywhere in the piece.