The different coloured shapes in this painting, although seemingly irregular, have their own internal order. Liberated from the rigidity of a grid structure, their forms tilt away from any centre, creating an effect of gentle motion. The palette of blues, greys, and lighter tones is typical of Abboud’s paintings from this period. Upon close inspection, the work is a force of painterly gestures. Thick paint, lines and colours play on the morphological possibilities of the primary material and create a formal language based on the perception of its detailed surface.