The vibration stops. The fish becomes recognisable again — direct, frontal. It neither insinuates nor oscillates: it shows itself.
The form simplifies. It is clearly defined. Colour ceases to be optical tension and becomes declared surface.
I work with contrast and saturation. Defined planes. Rhythms that recall the sign more than the organism.
Nothing is concealed.
The fish neither fragments nor gravitates.
It presents itself.
At this point I enter into dialogue with Oldenburg, Segal and Wesselmann.

The form has asserted itself. Now it simplifies.