The most tonally saturated and the most physically complex abstract watercolor in the collection — a large composition in which the entire picture surface is covered with overlapping color washes, and through which a network of white lines moves: the white is not unpainted paper but a medium applied on top, creating lines that glow against the colored ground beneath them.
The color ground is extraordinary in its richness: purple, lavender, teal, yellow, pink, orange, dark navy, brown — every color present, each zone bleeding into the next through the wet-into-wet technique, the result a surface of maximum chromatic density. No single color dominates; the whole surface vibrates.
The white lines and white forms — some trailing, some pooled, some describing irregular shapes — were applied over the dried or drying color ground in a second pass. They create a system of illuminated marks against the dark ground, reversing the usual relationship between light and dark in watercolor: where watercolor normally preserves white paper as the light, here white is applied like paint, added rather than preserved.
At upper right, dark tree-branch forms in black — the most naturalistic element — emerge from the color ground as if growing through it or visible through it, connecting the maximum-color abstract to the natural world without reducing it.
This is Sidney working with the full technical range available to him: color washes, white gouache or opaque watercolor, black ink, all in a single composition.