This untitled work from 1986 presents a turbulent marine subject rendered in Mario Schifano's characteristically gestural and energetic hand. Against a luminous turquoise ground, a dark, sweeping form rises from a churning mass of interlocking brushstrokes in deep navy, white, and teal, evoking the muscular breach of a billfish or marlin breaking through the water's surface. The composition is structured around a powerful diagonal thrust, with a long, tapering form cutting upward toward the upper left corner of the canvas, lending the image a sense of explosive upward momentum. Below this central figure, the surface dissolves into a dense tangle of calligraphic marks that suggest the froth and turbulence of the sea, painted with visible speed and physical commitment. The work is contained within a painted frame that Schifano integrated directly into the composition, tying together the pictorial space and its support into a unified aesthetic object. Schifano was among the most significant Italian artists of the postwar period, associated with the Roman school and with the broader international currents of Pop Art and Neo-Expressionism that he engaged with on his own idiosyncratic terms. By the mid-1980s, his practice had evolved toward a more fluid and improvisatory mode, in which recognizable imagery drawn from nature, media, and popular culture was filtered through an intensely painterly sensibility. This work belongs to that mature phase, where the tension between figuration and abstraction is held in productive suspension. The marine subject, while legible, is never fully resolved into illustration, and the viewer's eye moves continuously between recognizing the form and attending to the purely optical pleasures of the paint itself. At 56.5 by 56.5 centimeters, the work operates at an intimate scale that rewards close looking. The square format concentrates the energy of the composition, and the enamel and acrylic combination gives the surface a varied texture, ranging from glossy pooled passages to dry, dragged strokes. The painted frame amplifies the sense that this is a total object rather than simply a window onto a scene, consistent with Schifano's lifelong interest in collapsing the boundaries between painting, object, and image. Works from this period are held in major institutional and private collections internationally, and the present example represents a focused and accomplished instance of Schifano's work at a particularly inventive moment in his career.