In 1932 Nicholson visited Paris and saw work by Joan Miró, Alexander Calder and Hans Arp. He described their effect on him as ‘a new freedom ... a kind of liberation’.
Incised lines dance into and along the surface of this painting. The lines are fluid, playful and largely non-descriptive (although outlines of bodies can perhaps be read into this painting). Nicholson is occupied here with conveying the painting’s status as a physical object. In discarding the need for representation, Nicholson’s aim was ‘to animate a thing, to create new life by marrying idea to a physical object’.