Beauty often begins where perfect symmetry becomes slightly uninteresting.

Perfect symmetry is restful and slightly dead. The interest arrives at the break: the off-centre feature, the irregular line, the flaw that makes the eye stop. What we respond to as beauty usually includes something that refuses to resolve neatly.

Before you sand down the odd part of what you are making, or of how you present yourself, ask whether it is the flaw or the point. Very often the thing you are self-conscious about is the only memorable element in the room.