In the pictorial research carried out by Frédéric Prat (1966), coloured forms are deployed on the painting surface and are articulated in relation to monochrome backgrounds although their variation does not constitute an issue and they do not lead to a given interpretation. In fact, the spectator cannot discern a commentary nor any symbolism. On the contrary, the painting, freed of any reference or contingencies of composition, expresses its presence as an object. Its format allows it to be apprehended at once, entirely and in detail. The painting defines itself above all as a place, which allows the free gaze of the viewer, and opens a volume of thoughts.