A large horizontal pastel composition that reads simultaneously as pure abstraction and as a landscape viewed from inside — the forms suggesting both geological cross-sections and the interior of a body, both map and anatomy. Large interlocking areas of yellow, purple, green, red, and blue fill the composition with the confidence of late-period abstract expressionism, each zone defined by bold black outlines that give the whole a stained-glass quality.
The composition is organized around a central spiral element at lower right — a small but precisely rendered clockwise spiral in blue and white, embedded within the larger color fields like a seed or a focus point. This spiral is the work's signature mark, the element that identifies it unmistakably as Sidney's even within this most abstract of visual registers.
At lower left, a small face — green outlined, barely suggested, tucked into the lowest corner — is the most quietly surprising element: a human presence at the margin of an otherwise non-figurative composition. The face is smiling or neutral, its green outline giving it the quality of a mask rather than a person. This small marginal face echoes the faces embedded in Two Faces in the Cosmos (266) — Sidney's habit of placing human presence at the edge or within the field of his most abstract works.
The red field at upper left is the strongest color passage — unmodulated, confident, pressing against the blue and purple beside it with chromatic intensity. The whole work has an energy that the more carefully structured abstract compositions don't quite achieve — this is Sidney working fast, at scale, trusting the colors to find their relationships.