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Art Deco borrowed freely from antiquity — the columns, pilasters, and capitals of the classical world appeared throughout Miami Beach's district, updated with the flattened, stylized geometry of the 1930s. This capital is that borrowing at its most abstract: a disc and fluted column shaft shot from below into near-white, the shadow of the disc the only thing registering as dark against the overexposed background. There is no color. There is no architectural context. There is only the shadow — the disc drawing a bold dark form across the fluting, its lower edge creating a scalloped boundary between light and dark that is the image's entire subject. Art Deco at its most distilled: classical form, subtropical light, and the geometry that happens when the two meet.
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