It may at first sight appear to be
a uniform field of solid white,
but on on second glance
the viewer notices shapes,
implied spatial relationships, facture.
She realizes that there is no single,
“absolute” white
but varying degrees of whiteness,
that potential forms may lurk
beneath an apparently empty surface.
The artist’s theosophical intentions notwithstanding,
the subtext of this particular painting
speaks to painting (perhaps even
to this particular painting).