A large, densely populated abstract watercolor — one of the most varied compositions in the collection, a world containing multiple visual registers simultaneously. Large flowing line bands in tan-gold — parallel curves that suggest the topographic lines of a map — sweep across the right and lower portions of the composition, giving it structure without defining it. Within and around these flowing bands, a population of forms occupies the ground: scattered creature marks, plant-like forms, color events, dotted passages.
At center left, the most complex and carefully described element: a large organic form rendered with multiple layers — a shell-like or kidney-shaped form in blue outlined in gold and surrounded by subsidiary marks. This is one of Sidney's most jewel-like forms, the Fauvist multi-color skin treatment applied to an abstract object rather than a figure.
At lower right, a cluster of green marks in the East Asian manner — a hint of the botanical vocabulary visible within the larger abstract field, the two practices coexisting in the same picture. At lower center, small creature forms barely distinguishable from the watercolor washes — life at the threshold of visibility.
The flowing tan-gold line bands are the composition's structural backbone, creating a sense of terrain or current within which all the other elements exist. They read as both geological (contour lines of a landscape) and biological (the flow lines of a living system) — two interpretations that the composition holds open simultaneously.