This 2013 work by Los Angeles artist Eric Zammitt presents a quietly luminous field of layered color, its chromatic depth dissolving softly toward the edges in a haze that is entirely intentional. Zammitt constructs his panels by laminating multiple sheets of differently colored acrylic plastic into a dense block, which he then cuts into strips using a bandsaw and tablesaw, rearranges into carefully considered compositions, and laminates together once more. The resulting panel is wet-sanded and polished to a glassy finish before being float-mounted flush to the wall. Here, a milky translucent outer layer draws the interior colors back from the surface, lending the work an atmospheric quality that recalls photographic soft focus or light diffused through frosted glass. The fading at the periphery is not incidental but calculated, a considered formal choice that gives the composition a sense of receding depth within an otherwise flat object. Zammitt regards these panels as paintings, insisting that acrylic plastic is simply paint in a hardened state and that the saw and polishing machine are as legitimate as any brush. The distinction matters for understanding what this modest-scaled work, measuring just 35.6 by 40.6 centimeters, actually achieves. Within its compact dimensions it holds genuine optical complexity, shifting in character depending on ambient light and viewing angle. Works by Zammitt are held in institutional collections including the Chan Zuckerberg Initiative, Baylor College of Medicine, the Pomona Museum of Art, and the Museum of Art and History in Lancaster, attesting to a practice that has earned serious institutional attention. Signed by the artist and offered through the Venice Art Walk Benefit Auction, this is an accessible entry point into a rigorous and distinctive body of work.