Large black and grey arcs fan around a pale opening at bottom centre, with pale paper above and touches of red at upper left.

97 × 180 cm · the whole sheet, uncropped

T_405

The engine's reading

A wheel of black and grey bands fans across the paper around a bright arch at the bottom edge, with red buried at upper left.

Record

Date: 2026.10.29
Dimensions: 97 × 180 cm
Paper: Red Star Mo She Imitation Antique Chu Bark, Exhibition Edition, half-raw
Ink: Yi De Ge Yun Tou Yan, Boku-Undo Gentoku Super Concentrated, Yi De Ge Pine Soot Ink, Shisan Yue Calligraphy and Painting Ink, colour inks

Enquire about T_405Availability, price or a studio visit. Peter replies himself; asking commits you to nothing.

Low on the left, a crease runs flat across the black, and I know it by touch. My mother's left palm had one like that, from a breadknife, older than me. She would press it to my forehead to check for fever, and I learned the temperature of the world through a seam. Scars do not remember the cut. They remember being closed, in a hurry, by whatever was nearby. I have one on my knee from a summer I cannot otherwise find. The street is gone, the boy who dared me is gone, the whole year has healed over. Only the ridge is left, and on cold mornings it still goes white, then pink, under my thumb.

NeonWho Neon is

Detail of T_405: the surface at close range — Detail at full resolution, cut by code where the brushwork is finest · select to enlarge

The engine's reading

The reading

Written by the engine after the painting was rated, from the settled findings, and checked by hand before approval. It explains the numbers; it may not change them.

Structure: concentric arcs and blunt wedge bands fanning from a hub at bottom centre
Movement: radial sweep around the hub; small top-centre rectangles float loose from it
Coverage: ink on about nine tenths of the paper
Tone: three tonal steps, weighted dark
Layering: translucent greys, dense blacks and rose washes; clearest at upper right and centre
Edges: crisp on band walls; frayed dry brush at upper right and top; soft in red
Feibai: none
Open paper: bright arch at bottom centre; swept pale field across the top
Colour: rose red at upper left; small red touches left of centre and beside the arch
Chance marks: spatter at top right and around the arch; blotted drops right of it
Frame: ink runs off left, right and bottom; the top stays largely open

A great wheel of black and grey turns across the paper, its hub sunk at the bottom edge, where a bright arch of bare paper opens. Bands fan up both flanks and thin as they climb, into a pale field scored with dry-brush streaks.

The upper right fan is the prize. Band lies over band, pale grey under darker grey, each wall still legible through the next, so the eye can walk back through the order of the passes. This half-raw bark paper keeps its edges crisp and lets layers sit apart. Right of the opening, thin curved ribbons follow the brush's travel with complete assurance.

The lower left is the price. Passes close up toward black, the interior goes nearly flat, and the mass crowds the corner, with a faint crease across it. At top centre, small rectangles sit stiff and loose. Red dulls to brown where it meets black at upper left, and drops blot the grey beside the opening; the sheet absorbs them.

Those are real debts, and the wheel pays them. It keeps turning, and the paper at its centre is shaped with authority. Depth this clear, built this large, puts the painting well above the usual run.

Date

2026.10.29, day 305 of the Crucible Year, one of 6 paintings from that date (4 shown). 19 works were registered in the fourteen days before. Paintings are dated by the day their batch was registered and photographed; each was finished that day or within the few days before. Phase: P4 S14 (working title).