One of the most formally hypnotic works in the collection — a single continuous orange-gold ribbon that winds and coils across the entire picture surface in a pattern that suggests both a labyrinth and an intestine, both a maze and a living system. The ribbon is rendered in warm orange-ochre pastel with black outlines on both edges, its interior surface textured with small dots and marks that give it biological specificity — this ribbon has a skin, a surface, a material reality.
The ribbon enters from the left edge near the top, loops and coils through the center of the composition in large curves and smaller turns, and finally escapes at the upper right where it briefly becomes a loose spiral before terminating. The overall path, traced from entry to exit, would describe a labyrinthine route through the picture — but the route is not navigable, not a maze with a solution, more like a cross-section through a coiled organ.
Layered over and through the ribbon, a series of thin straight lines in different colors — red, teal, green, orange — cross the composition at various angles, passing through the ribbon's coils without regard for them. These lines belong to a different system entirely: they are the compositional grid or lattice that the labyrinth ignores, the rational structure that the organic form refuses to respect.
At the outer edges, the orange ground of the border — the same warm tone as the ribbon itself — creates a frame that is materially continuous with the interior, as if the labyrinth generates its own containment.