With its combination of geometry and Op Art, the painting irritates and provokes the eye. The stripes of colour rammed one against the other cause optical tension, while a diagonal cuts the composition in half. A dynamic spatial structure emerges from the surface and the painting opens up to the surrounding space. Its form is no longer dictated by the underlying square of the picture support; rather, the energised bands of colour virtually break through the formerly closed surface. They turn the small work into the first European ‘shaped canvas’ – a painting whose contour is derived from its composition.