Created in 1988, this compact yet commanding work by Helen Pashgian encapsulates the meditative precision that has defined her decades-long investigation into light, surface, and perception. Executed in epoxy on canvas on panel, the piece exemplifies Pashgian's singular mastery of a notoriously demanding material, one she helped pioneer within the Los Angeles-based Light and Space movement. The epoxy ground is manipulated to create a surface that appears to breathe, shifting subtly as ambient light changes, so that the work never resolves into a fixed or static image. At just 45.7 by 45.7 centimeters, the square format concentrates this luminous effect into an intimate field that rewards prolonged and close attention. Pashgian emerged from the same Southern California milieu as James Turrell, Robert Irwin, and Larry Bell, artists who collectively repositioned light itself as the primary subject of art rather than its incidental byproduct. Her paintings in epoxy occupy a fascinating conceptual space between object and phenomenon, their surfaces functioning less as a ground for imagery than as a kind of suspended atmospheric depth. This 1988 work arrives at a mature moment in her practice, reflecting years of rigorous experimentation with industrial resins in which technical control and sensory openness are held in precise balance. The piece is signed and offered through Emily Friedman Fine Art, providing a clear point of provenance for collectors seeking a historically significant entry into her body of work.