This early painting by Moshe Kupferman contains most of the elements that characterize his mature work: an interest in the two-dimensional and three-dimensional limits of painting; the shades of red and green underlying the purple monochrome; concealment and exposure; construction and a preoccupation with restrictions and borders. Nevertheless, this composition still relates to the language of abstract painting, and does not possess the uniform geometric quality of Kupferman's mature style. The painting has a milky surface that creates a somewhat translucent effect, while maintaining the impenetrable character of the different planes. Traces of drawing are visible both on the composition's superficial layers and within its depths, where they form internal scaffolding that is only partially revealed.
The work's mechanism operates through the restriction and restraint of internal impulses (and of the unbearable memory of the Holocaust, according to art historian Tali Tamir); at the same time, the pictorial space maintains a degree of lightness. The “subject,” or in other words, “that which is remembered,” remains outside the frame. The painting always exists alongside memory, thus enabling us to access it. The brushstrokes are elongated, wide and “generous,” and the paint is handled like a three-dimensional substance – while simultaneously being an expression of a painterly approach.
Kupferman’s work reconstructs the preconditions necessary for the creation of a composition by building upon the internal language of painting. Thus, for example, he creates a "support" by means of colorful brushstrokes. In this sense, Kupferman creates his own pictorial meta-language, which is never fully realized since the painting is always just a “preparation” for a painting.
Kupferman's meta-language is not unrelated to the trope of memory. Since memory is too dreadful to be evoked and acknowledged as the external "source" for the painting, Kupferman conducts an archeological excavation that peals away the layers one by one in search of the point of origin. In doing so by purely painterly means, he attempts to replace the “external” source with one that is “internal” to the medium of painting.