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Strip away the context and this is almost pure painting: two tones of warm color divided horizontally, interrupted by four tall rectangular slots whose interiors catch the afternoon sun at an angle that divides each opening precisely in two — one face lit to pale, the other held in near-black. The frame requires a moment to read as architecture. The dark zone is the deep shadow of an overhang; the pale zone is the smooth plaster of the wall below; the slots are niches cut through the intervening surface, their proportions tall and narrow in the Moroccan tradition. What makes the image is the light's relationship to those openings: the precise diagonal cast inside each one, consistent across all four, the geometry of the sun made legible in the geometry of the wall.
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