It appears as though the image of the statue itself is not painted for the most part,
but it must be to some degree or it would not be distinguishable, so it must be a
significantly lighter value than the blue that colors in the ocean. The sky in the
background is the color of linen. The blue and/or red paint (depending on which
rectangle it is) fills in the ocean in the bottom two thirds of each rectangular image. In
about three fourths of the rectangles there is a cloud of blue in a darker value than that
used on the statue that shrouds the statue’s face and/or torch, preventing us from seeing
the entire image clearly. There are two rectangles at the top right corner of the work in
which red paint is used, if you do not count the rectangles to the far right that are cut off.
Because the painting is aligned to the right, and because the red paint is only used in the
rectangles in the top right corner, there appears to be more weight on the right and less on
the left, more weight on the top and less on the bottom. It looks like someone is pulling
the painting up and away by its top right corner, like a tissue being pulled out of a tissue
box. The torch the statue holds, though it is certainly an implied line, surprisingly does
not direct my eyes elsewhere. A grid of six implied lines is created by the repetition of
the image. They are in between the four columns and four rows, unpainted and the color
of linen. A line is created where the bluish ocean and the linen-colored sky meet. There
are subtle, unstable lines that imply motion in the water behind the statue, more subtly in
some rectangles than in others.