A densely layered field of color emerges from Thompson's systematic and procedural approach to painting, in which acrylic is applied to linen according to rigorous, time-based constraints that subordinate artistic expression to mechanical process. The inclusion of a Marpac Sleepmate white noise machine as a component of the work introduces an auditory dimension, collapsing the boundary between object and environment while implicating duration and perception in the experience of the piece. *Chronochrome (récit 2)* engages the logic of seriality and exchange, situating painting within broader questions of labor, time, and value.