One of the most quietly extraordinary works in the collection — a large horizontal watercolor in which the entire picture surface is populated with individual dots and small marks scattered across a pale ground, creating the impression of a sea or field seen at a great height. The dots are various in color and size — black, red, orange, green, blue, teal, yellow — distributed with the same meditative labor as Constellation (066) and The Full Spectrum (369), but here oriented horizontally in loose bands that suggest waves or rows rather than a field.
The horizontal bands of dots — alternating denser and sparser zones — create a surface that reads as water: not realistic water but water understood as pattern, as the systematic distribution of small events across a large surface. This is the sea understood through the same principle as the dot fields — the individual mark as the fundamental unit of visual experience.
At center right, nearly invisible until the eye adjusts: two tiny figures in a small boat. They are barely four or five marks each — a rounded hull, a seated figure, an oar — but they are unmistakably two people rowing, and their presence transforms the entire composition. What was a formal exercise in mark-distribution becomes a seascape; what was abstract pattern becomes an experience of vast water and small human presence.
The fishermen are Sidney's most quietly placed human figures — tinier and more precarious than the red house in the landscapes, less stable than the solitary figure in 580. They are out on the water, in a small boat, surrounded by all those dots.