This work channels the raw energy of mid-century Abstract Expressionism while pushing toward something more atmospheric and optical. The assertive purple framework contains but doesn't constrain the volatile yellow and green forms within—a tension reminiscent of Hans Hofmann's push-pull theory, where spatial depth emerges from color relationships alone. Yet there's something distinctly contemporary here: the way light seems to physically manifest as paint, refusing to settle into stable form. The title's suggestion of refraction feels less metaphorical than actual—these aren't representations of light but rather light's own grammar made visible through pigment. The gestural immediacy recalls action painting, but the chromatic intelligence at work speaks to a more deliberate investigation of how color generates its own luminous space, independent of image or illusion.