As a painter, Cezanne attempted to reconstruct nature in such a way as to bring everything into harmony with its context- and that normally was a rectangular picture plane. So everything on that plane had a role to play, and nothing existed in isolation. A colour here would relate to a colur there, and a gesture or angle here would be answered somewhere else that was suitable. But one of his central messages was to 'advance the whole canvas simultaneously'. In other words, don't begin at the start, begin everywhere so that the whole system can be realized together, and each part can be considered consciously and unconsciously as a component of the whole. The idea was that this would bring unity (physically, and in any other context of meaning).
analysis and synthesis
I loved this concept of unity, and I generally work this way still. First analysing the parts, then synthesising them through the craft and the ideas that it is able to carry. Fragment (to understand it) then combine harmoniously (to make it).
If there is ever a chance that we can make things that are really well considered and true expressions of a set of clear, related ideas, then this is how, as a master of nothing in particular, I try to achieve it. Of course none of this will guarantee good craft or sound technique or even worthwhile ideas, but it is at least considered.