I see an athleticism in this work in form and composition: in the panel’s strong diagonal lines, leading my eye upwards, in the physical weight of it and in the way that it locks itself onto the wall with a satisfying click of precision, in the challenge of designing and constructing it, in the difficulty of adhering the linen to it using the archival “wet-stretching” method I developed, and the process of painting, which requires my full concentration and harmony between my body and my mind—as any athlete can attest of their sport. In composition, the diagonal lines, implicit in this work’s form and composition, speak of energy, movement, and action. The yellow border competes with the defined planes of the face and sides of the work, while defining a new “face” for the work in virtual space, in the mind, as an illusion. The work activates the space around it through its physical form, and activates virtual space and time through the viewer’s engagement with it and the ambiguity of its colors, with areas that on first glance may appear primary blue, change to a deep ultramarine, to violet, even a red-violet moving towards magenta, based on both the viewer’s proximity and the light moving through the space in which the work is displayed.