Mustard, aubergine and black arcs cross a wide field of pink and meet at a node left of centre. A white sliver has been cut clean through the node. The pink is sweet and bruised, grooved where the aubergine fan was dragged over it. At the far left, bare white holds a pale blue dot and two orange ones, small enough to be missed. Everything gathers at the collision. The tone is ripe and tart.
Mustard, aubergine and black arcs cross a wide field of pink and meet at a node left of centre. A white sliver has been cut clean through the node. The pink is sweet and bruised, grooved where the aubergine fan was dragged over it. At the far left, bare white holds a pale blue dot and two orange ones, small enough to be missed. Everything gathers at the collision. The tone is ripe and tart.
Several arcs arrive at one point, and their order can be read where they overlap. The aubergine fan carries fine concentric grooves around a fixed centre. The mustard arcs loop in from either side, one fraying into dry bristle at its edge. The white sliver is a thin cut edged by an incised line, with a single aubergine drip hanging from it. The three small dots at the far left are the only marks that stand alone.
In Roberto Caracciolo's painting the crossing keeps a record of weight and travel, and the white cut holds the collision open. Frank Stella's Protractor paintings, where interlaced arcs and fans lie flat in saturated colour, set the contrast.
