The swashbuckling lines read across and back down the canvas as two stanzas with a sort of notation at the bottom (Rask). This is the key work as you watch the strings flung on the canvas laden with paint expand with haloes into larger and more intricate compositions, if you will. The open planes are like a book (#1 Branco), the whole thing (acrylic on canvas or panel or Mylar) is formally akin to Charles Arnoldi in a way and suggestively to Edward Ruscha’s letter-paintings, but more along the lines of a Bauhaus musical analysis, to stretch the metaphor.