An extraordinary and deeply characteristic work — the entire picture surface covered with hand-drawn spirals at varying scales, from large (palm-sized) to very small (thumbnail), each one individually drawn with multiple concentric rings, each one slightly different in shape and orientation. This is the spiral vocabulary pushed to its most systematic and its most obsessive expression: not one spiral but a field of perhaps eighty or a hundred, the entire picture given over to the form that dominated Sidney's visual imagination across his lifetime.
The spirals are rendered primarily in black ink, with color outlines in orange, red, green, blue, and yellow marking selected spirals — not systematically but expressively, some receiving color, others remaining purely black. The largest spirals have ten to fifteen concentric rings each; the smallest are just three or four loops. Between the spirals, the smaller ones cluster like satellites around the larger ones, creating hierarchies of scale that read as solar systems or molecular structures.
This work is the direct companion to the Eye of Everything (706) — where 706 is one perfect spiral filling its entire 5"×5" field, this work is dozens of spirals filling a large horizontal field. The same preoccupation, the same discipline of the repeated mark, the same obsessive attention — but here multiplied, distributed, generative. A galaxy of Eyes of Everything.
An argument could be made that this is the collection's most autobiographical work: Sidney, who spiraled in everything from his bamboo paintings to his ceramic jewelry to the Eiffel Tower staircase, here simply made a field of spirals, because that is what he did.