A work of pure geometric play — the most mathematical composition in the collection. Multiple circles of varying sizes overlap and intersect across the white ground, each drawn in a different color: blue, orange, gray, green, black, red. Where circles intersect, the enclosed lens-shapes are filled with color — yellow crescents, pink half-moons, orange segments, a dark brown cap — creating a composition of overlapping color fields that reads as both systematic and joyful.
The circles themselves are not mechanical — they are drawn freehand, slightly irregular, with the wobble of a confident but human hand. This imperfection is essential: it keeps the geometric system from feeling cold or diagrammatic. These are circles made by a person, not a compass.
Behind and between the circles, long undulating lines in multiple colors — green, orange, yellow, blue — sweep across the composition in horizontal waves that belong to a different visual register entirely. They are the organic element in a composition otherwise dominated by geometric order, connecting this work to the worm-field paintings and the gestural abstracts.
At the intersections, the color fills are handled with particular care — each lens-shape painted with its own internal character, some smooth, some variegated, one at lower right a deep transparent red that is the most purely chromatic element. The whole composition feels like Sidney working through a geometric idea with genuine curiosity, discovering what happens when circles of different colors collide.