A geometric screenprint by Max Bill, exploring the interaction of colour and form through precise, mathematical composition.

Max Bill, a central figure in the development of Concrete Art, produced this work as part of his rigorous exploration of mathematical order and visual perception. The composition is defined by a diamond orientation, which challenges the traditional rectangular frame of the canvas. Within this geometric boundary, Bill employs a precise arrangement of colour fields that interact through proximity and contrast. The work relies on the systematic application of colour theory. By placing specific hues adjacent to one another, Bill creates an optical effect where the boundaries between shapes appear to shift or vibrate. This approach reflects his training at the Bauhaus, where he studied under figures such as Wassily Kandinsky and Paul Klee. His work prioritises the autonomy of the visual elements, rejecting representational imagery in favour of pure form and colour relationships. In this specific print, the yellow dominates the field, while the vertical slivers of colour introduce a tension that suggests compression. This title refers to the perceived physical force exerted on the colour planes. The result is a balanced, static image that nonetheless engages the viewer in an active process of observation. Bill believed that art should be a product of the human mind, governed by logic and clarity. This piece demonstrates his ability to translate complex geometric concepts into a clear, visual language that remains accessible without relying on external narratives or emotional cues. The print is a precise example of his mid-career output, where he refined his interest in the mathematical properties of space and the psychological impact of colour sequences.