In this work, the iron has withdrawn inward. The surface holds a stillness one usually looks for in religious painting. At a glance, monochrome; given time, a vocabulary of a thousand small admissions.
A red turned inward. Where the earlier panels burn, Marmelópolis broods, the iron pulled toward burgundy, the surface held still. Looked at quickly the panel reads as monochrome. Looked at long enough it becomes a vocabulary of small admissions beneath the calm.