A flat, almost meditative surface where color is organized into superimposed horizontal bands. The upper part sinks into a dense, slightly textured black, as if held in suspension. Gradually, this black gives way to a deep blue, traversed by fine streaks that reveal the passage of the gesture. Further down, the color warms up: an incandescent red, then an orange line, finally a diffuse yellow that opens to a light, almost white, area at the base.

The composition is based on this slow, continuous descent, without any sharp breaks. The lines are not strict; they vibrate, blend, and slide into one another. The space is constructed without apparent perspective, yet it suggests a depth, like a dilated horizon. The gaze circulates vertically, drawn downwards, towards this light that seems to emerge rather than impose itself.

The material is present, perceptible in each transition. Irregularities surface, streaks, discreet accumulations that attest to a layered work, a patient deposition. The gesture is neither brutal nor erased: it persists, inscribed in the surface, giving the painting an almost tactile density.

The light does not come from an external point; it originates from the color itself. It concentrates in the warm tones, then diffuses to the light area, where it seems to exhaust itself in a form of appeasement.

Nothing is explicitly represented, and yet the whole evokes a horizon line, a passage, perhaps a boundary between two states. A gentle tension is maintained between the dark mass and the luminous opening.

The work captures the gaze with its restraint. It does not seek to impose itself, but to establish a slow, almost respiratory rhythm. A sensation of fragile balance persists, like a trace of light that continues to exist after having disappeared.