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At Muralla Roja, blue was assigned to the passages and recesses — the cool interior spaces of the labyrinth, a counterpoint to the burning reds of the exterior walls. This frame finds that blue at its most exposed: a powder blue wall occupying the left half of the frame, the deep navy of the Costa Blanca sky filling the right, and between them a single white architectural element — a parapet corner, its L-shaped profile casting one clean shadow — holding the junction. Two blues, one white, one shadow. The composition is so reduced it raises a genuine perceptual question: where the wall ends and the sky begins, and whether, without the white form to mark the boundary, you would know at all.
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