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Based on a simple dynamic linear arrangement developed during a brief stay at Oxford University the previous summer, the composition is a set of variations based on this "melodic cell," and was inspired by Anton Webern's early unwieldy, too-dark and over-charged Passacaglia for Orchestra: as the painted composition works out its inevitable solutions linearly and chromatically, so too does the interplay among the many levels of craquelure on which several of the painting's larger passages are based.   (Click on any thumbnail to see the enlarged image.)