The most tonally unified and the most atmospheric work in the pastel section — a large horizontal composition in which the entire surface is worked in the palest possible register, the colors so close to white that the overall impression is of a world dissolving into light. Pale yellow, green, pink, lavender, and blue-gray marks trace undulating horizontal forms across the surface, suggesting simultaneously cloud formations, ocean waves, geological strata, and the visual static of a field seen through mist.
The white pastel throughout — applied over and between the color marks — creates a surface of real material complexity. This is not untouched paper but actively worked ground, the white pastel blending with and partially obscuring the color beneath it, creating a haze that is both the medium and the subject. The work is about the experience of whiteness, of things present but barely visible, of the world before it fully materializes.
Scattered within this white field, almost hidden: at lower center left, a tiny figure — a person with upright marks suggesting arms or tools; nearby, a small cluster of what appear to be tiny red flowers, drawn with the botanical specificity Sidney brought to foreground plants throughout the landscape works. These small presences — barely legible at the scale of the composition — transform the atmospheric abstraction into a world inhabited at extreme distance.
At the lower right, a dark concentrated mark in blue-gray — almost the only dark element in the composition — provides the single note of weight and gravity. Without it the work would float entirely free of the ground.