Recognizing and influencing colour as the language of painting in cooperation with other colours is the attraction and task of every brushstroke. There is an area of tension between assertion and withdrawal in which every work, taken by itself, represents a pictorial problem that needs to be solved. Because every colour answers a question that the picture has previously asked. If the answer is there, the picture raises new questions. In this constant process of overpainting and juxtaposition, of finding and rejecting, studies and works emerge that trace the language of colour and attempt to grasp the unfathomable mathematics of painting by rejecting the obvious.