In Some Air, forms, colors, and rhythms take charge of the construction of space without relying on descriptive representation. The surface is built through fragments, breaks, and successive close groupings. The muted tones give the whole a restrained density and bring out the nuances of the paint surface.

The gesture remains legible in the directions, the returns, and the shifts of the paint. Space asserts the surface of the canvas and favors direct relationships between forms. The whole retains a stability that lets the eye move through it without excessive tension. The work thus favors an open reading, where pictorial construction matters as much as the evocations each viewer may recognize in it.