Illustrative of the late 1980s period in Palolo's work, this painting reveals itself as a sum, a re-composition, and a synthesis of his artistic experiences of the past decades. At first glance it appears to be almost totally dominated by the repetition of elements in a symmetry that is, however, broken not only by the dripping central stain that escapes from the rigidity of the rectangular pattern, but also by the small lateral stains that give different textures to the pink, orange, and red horizontal bars. The stains, the textures, the three drops deliberately dripping over the central blue bar turned brown - together with the different layers of colouring and veils of transparencies - give the piece a sense of continuous movement, of a space/ painting in progress. In José Luís Porfírio's assessment, these marks (possible traces of another painting or of another initial path of this painting were assumed to demonstrate the work and process of painting itself, as if the work thus showed its own history of composition. Colour, a fundamental and foundational element in Palolo's work, functions here as a creative energy that provides or removes textures, conferring greater or less opacity, depending on the intensity of light or shade. Worked in a gestural and expressive exercise, these chromatic characteristics transform the geometric elements, removing some of their abstract rigidity and giving them a kind of lightness that translates into a game of movement of colours and shapes that are transformed before the eyes of the observer. The physical space of the piece gains thus a renewed energy that enables various readings of the work since the game opens (and closes) new perspectives continuously.