The word epistrophe refers to the repetition of a word or phrase at the end of successive sentences. In Monk's work, this principle becomes musical: the piece served as the opening and closing theme for each concert, a perpetual return, a loop. In my painting, this same principle of structured repetition is at the heart of the composition: rectangles that respond to each other, shift, return—without ever overlapping exactly.

Monk found a way to make dissonant things beautiful; he managed to make them sound right, in a way that music theory cannot really explain.

That's exactly what I did with color. Pink/lilac—an optically unstable color, neither red nor blue—slips between the two strongest primary colors on the canvas. This juxtaposition creates a chromatic tension, a “visual dissonance” between colors that shouldn't coexist.