A large composition of great delicacy — the lightest touch of any of the abstract works, the marks themselves barely present against the white ground. Forms rise from the lower portion of the composition upward toward the empty upper field: at lower center, a fan or tree-like form of multiple upward-reaching marks, each strand separately described in pale color; at right, a long curving tendril that rises from the lower mass and spirals at the top before trailing off into two fine lines at the upper edge.
The color throughout is almost entirely pastel — pale pink, lavender, pale blue-green, yellow-green — applied with the lightest pressure, the marks translucent rather than opaque. This gives the composition the quality of something just becoming visible, of forms emerging from white rather than being placed upon it.
At lower left, a separate mass of dark marks — the darkest element in the composition, a concentrated zone of ink or heavy pastel — anchors the lower left with weight and contrast. Without this anchor, the whole composition would float away.
The rising movement — forms ascending from dense lower zone into lighter, more open upper space — gives the composition a quality of aspiration, of growth, of something reaching toward light. This is one of the few works in the collection that uses vertical movement as its primary compositional principle rather than horizontal distribution or radial organization.