The most self-referential work in the collection — a large abstract composition that Sidney has framed with a hand-painted decorative border, making the act of framing part of the artwork itself. The border runs along all four edges: a continuous band of small dots in orange, purple, blue, and black, interrupted at the corners and edges by zigzag and chevron patterns in yellow and black. This border is not painted over the composition but is clearly a deliberate choice — Sidney making the frame, then filling the frame, treating the whole rectangle as his canvas including its edges.
Within this decorated border, the composition is one of Sidney's most energetically varied abstract works. The white ground is populated with large curving forms in black outline — spirals, ear-like shapes, elongated S-curves — each containing internal color: yellow spirals with striped interiors, pink fields with small spirals nested inside, blue-gray ringed forms. Smaller creatures and marks scatter between the large forms: a dotted chain, small eye-like marks, brief color accents.
At the upper center, a cross-like form in black — the most explicitly symbolic mark in any of Sidney's abstract works. It sits among the spirals and creature forms without announcement, neither dominant nor subordinated, simply present. Whether this is a Christian cross, a plus sign, a compositional accent, or something personal is unknowable. But its placement at the center top of the composition gives it a structural significance.
The self-generated border transforms the work from painting into object — something between a canvas and an illuminated manuscript, between Western abstraction and decorative art traditions.