More kibitzing here. The word to keep in mind is 'relationships'. When shapes all carry about the same weight, then you have a calm picture and one that's more on the static side which has a psychological connotation that perhaps would suggest stability or stasis. If you want drama or dynamics, you would want to shift proportions which makes it more like a race for dominance. And when you have that, it creates a sequence and you can use that sequence of what gets noticed first, second etc and thus the eye can be lead throughout the canvas in the order you want them to see it.
Dynamics makes a different statement on whatever level the picture is working. It tends to pull in the viewer more. For me it isn't aesthetics first, but rather it's having the aesthetics serve what psychological impact the artist wants to make. If you can make an apple and two cylinders interesting, you're on your way. And it's very doable.
I would first shoot for what interests you (trying various croppings and arranging elements forward and back, moving your lighting, casting clever shadows and so on as another way to add interest) and thus find what is the vocabulary you can use to articulate and emphasize that pleasing arrangement for you. And then make the statement. With time all that will compress into a shorthand that will become second nature and you will diddle with it and know where to go in short order. Meantime, this is very cool what you're doing.
Well done.
"Not a bit is wasted and the best is yet to come. . ." -- remembered from a dream