Further repurposing of older exercises in tempered Neo-Plasticism, Demi-monde and the previous painting, A Grim Prospect, again ally what I see as the essential language of formalist modernism ca. 1920-1935 with two later-stage developments: the championship of Klein's vide (void) ca. 1957 - 1960 on the one hand, and my own indulgence in the meta-language of 19th-century painting (stroke, varnish, cracks, stains, underpainting, etc.) on the other.
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