A hauntingly minimal composition, this work embodies Innes's signature process of applying and partially dissolving paint with turpentine, leaving ghostly traces of Paynes Grey and Black Oxide that seem to emerge from and recede into the raw canvas simultaneously. The work exists in a state of tension between presence and absence, where the remnants of pigment create a meditative field of subtle tonal shifts and atmospheric depth. Innes's reductive method transforms the act of erasure into a form of mark-making, yielding a surface that feels both ancient and immediate.