Indeed the transition in his work that takes place in the middle years of the 1980s implies that a new logic was emerging to deal with what had remained a fundamental problem in composition. If Western painting as a whole rejects the square, it does, on the other hand, admit a choice between two different types of format whose origin is based in the history of the genres: that is, the landscape and the portrait. Such a division does not, of course, imply any strict mathematical distinction between the two alternative formats. It is simply a question of the former being specially appropriate to the subject’s expansive vision of the external world, and the latter to the human being’s upright posture.

Indeed there are a number of other paintings from this intensely creative period that point to a possible new orientation that will be developed in the future.
— Stephen Bann