This untitled canvas from 1995 presents a dynamic interplay of enamel and acrylic blues against an unprimed linen ground, demonstrating Mario Schifano at his most gestural and concentrated. The composition is anchored by a sinuous dark navy stroke that rises from the lower center toward the upper left, functioning almost like a calligraphic mark or a column of smoke lifting into open space. Below and around it, sweeping layers of cerulean and cobalt accumulate in swirling, overlapping passages that suggest both turbulence and release. The exposed canvas above breathes quietly against the dense chromatic activity in the lower two thirds, creating a tension between emptiness and saturation that feels entirely deliberate. Schifano's engagement with paint as a physical, almost bodily substance is fully evident here. The brushwork carries a sense of immediacy and athleticism, with broad strokes applied at speed and narrower passages dragged thinly across the weave of the canvas, allowing the linen texture to interrupt and articulate the color. The palette, restricted entirely to the blue family, reflects a period in which Schifano was drawn to monochromatic or near-monochromatic investigations that recalled both Abstract Expressionist precedents and the chromatic purity of Italian Arte Informale. The work avoids the pop iconography for which he is perhaps most widely known, instead revealing the quieter, more meditative dimension of his late practice. At only 30 by 20 centimeters, the piece rewards close looking in a way that belies its modest scale. The intimacy of the format intensifies the energy of the marks, concentrating what might feel expansive in a larger work into something compact and immediate. Schifano completed numerous works on this scale during the 1990s, and these smaller canvases are increasingly regarded as among the most personal and formally rigorous of his late output. For collectors, the work represents a significant and accessible point of entry into a body of painting that continues to gain critical reassessment, offering both the spontaneity that defined Schifano's hand across four decades and the formal economy of an artist working with complete confidence in the final years of his career.