In Bernard, overlapping arcs and bold diagonals push the composition into motion. Saturated fields of teal, orange, crimson, and gray intersect across a loosely gridded space, while dense black forms anchor the image and hint at the underlying letterform. The original “B” has been stretched and fractured into visual structure—less a glyph than a framework for balance, contrast, and rhythm.

What sets this piece apart is its chromatic layering and spatial complexity. There’s no fixed center; instead, the eye loops through the composition, pulled by curvature, blocked by shadow, and shifted again by sharp edge or luminous color. The surface feels constructed, almost architectural, but the result is playful, slipping between form and figure without ever settling into one.