After his stay in London between 1967 and 1968, Ângelo de Sousa abandoned the figurative tendency of his work in favour of a growing formal depuration. Thus, in the 1970s, his pictorial practice developed towards minimal abstraction, marked by chromatic reduction, rigorous geometry and the exploration of the material qualities of the means he used.

Integrated into this phase of his artistic research, this work is part of a series in which the artist explores the superimposition of chromatic layers, defining a dense surface where geometric lines appear that vary from painting to painting, delimiting the pictorial space. In this composition there is only a faint diagonal line that runs the whole length of the canvas, creating a supposed division and spatial ambiguity that is reinforced by the chromatic nuances that result from the plastic treatment of the surface itself. In fact, colour appears through light modelling, in almost imperceptible variations. The saturation of the pictorial surface is achieved by applying the paints in short and subtle brushstrokes, in unequal directions. This restrained gesture, which combines rapid movement and precision, results in a dense but luminous and vibrant effect, full of depth and volumetry.

The understanding of pictorial space in Ângelo de Sousa is based on the exploration of the rhythmic and minimal qualities of the elements, according to the different logic of the materials. His research focused on exploring the "maximum effect with the minimum of resources", as he himself stated. It resulted in an environmental painting based on the elementarity of the means, and free from any representation.