Three artworks hung in a white gallery with a polished-wood floor.
The canvas on the left has a wall to itself, and appears to actually be the back of a canvas, with the crossbeams of the frame exposed and the paint-spattered edges of the canvas stretched over the frame's outer square. The back of the canvas is plain white.
On the adjoining wall, two works are hung. The one on the left is tall and rectangular, thinly framed in black. It's covered with splashes of predominantly orangey-yellow paint, flecked with scarlet and black, and with patches of white showing through.
The one on the right is a long rectangle hung in a landscape orientation, comprised of four adjoining canvasses, also thinly framed in black. In the four panels, almost all the white canvas is covered with thickly daubed olive green that incorporates smears of dark purplish-brown and flecks of black and mahogany red. White scratches punctuate the green.
A close-up of the canvas hung backwards shows the paint spatters on the wooden crossbeams, and the painted edges of the canvas pulled taut around the frame. There are also jagged nail holes sunk into the wooden crossbeams, and black studs holding the canvas in place around the frame.
A close-up of the yellow painting shows the splatter pattern of one of the scarlet splashes, and it's surrounded by smaller flecks of black, olive green and lemon yellow. Thick, textured smears of black and white paint stand up in ridges from the canvas. A speck of brown paint marks one side of a patch of white background.
A closer view of the adjacent green canvasses reveals tiny flecks of thick paint in many colours - cornflower blue and lemon yellow along with reds, blacks, greys and whites. One one panel, a scratch of black is daubed in two places with near-identical spots of mauve paint that taper off into peaks.
The artworks shown in pairs, then all three together, hanging in the white gallery where they're reflected on the gleaming floor.
