--- title: "T_405, ink on paper | Crucible Year" url: https://peteryuill.art/works/T_405 description: "T_405 by Peter Yuill: 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. Ink on Red Star Mo She Imitation Antique Chu Bark, Exhibition Edition, half-raw, 97 × 180 cm, 2026.10.29. Crucible Year." source: generated from the Crucible Year master database --- ![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](https://peteryuill.art/papers/S10) - **Ink:** [Yi De Ge Yun Tou Yan](https://peteryuill.art/inks/MB6), [Boku-Undo Gentoku Super Concentrated](https://peteryuill.art/inks/MB8), [Yi De Ge Pine Soot Ink](https://peteryuill.art/inks/MB9), [Shisan Yue Calligraphy and Painting Ink](https://peteryuill.art/inks/MB10), colour inks [Enquire about T_405](https://peteryuill.art/enquiries?work=T_405) Availability, 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. Neon [Who Neon is](https://peteryuill.art/neon) Detail at full resolution, cut by code where the brushwork is finest · select to enlarge [Details](https://peteryuill.art/works/T_405#details)[The reading](https://peteryuill.art/works/T_405#reading)[Date](https://peteryuill.art/works/T_405#date)[Materials](https://peteryuill.art/works/T_405#materials)[Related](https://peteryuill.art/works/T_405#related) 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](https://peteryuill.art/phases/P4) (working title). Made after one of the busiest fortnights of the previous two months: 19 works in the fourteen days before. THE YEAR ## T_405 among all 408 Every painting of the year by date; this one is outlined. [Every painting from 2026.10.29](https://peteryuill.art/days/2026-10-29) · [This date in the year](https://peteryuill.art/year?follow=2026-10-29) ## Materials - **Paper:** [Red Star Mo She Imitation Antique Chu Bark, Exhibition Edition, half-raw](https://peteryuill.art/papers/S10), China Xuan Paper Co., Ltd. (中国宣纸股份有限公司), made 2026.01.14 - **Ink MB6:** [Yi De Ge Yun Tou Yan](https://peteryuill.art/inks/MB6), Yi De Ge (Beijing) - **Ink MB8:** [Boku-Undo Gentoku Super Concentrated](https://peteryuill.art/inks/MB8), Boku-Undo - **Ink MB9:** [Yi De Ge Pine Soot Ink](https://peteryuill.art/inks/MB9), Yi De Ge (Beijing) - **Ink MB10:** [Shisan Yue Calligraphy and Painting Ink](https://peteryuill.art/inks/MB10), Shisan Yue (Thirteenth Month) - **Colour:** colour inks, recorded together The sheet of paper was made 288 days before this painting. When each paper was in use [S1](https://peteryuill.art/papers/S1)[S2](https://peteryuill.art/papers/S2)[S3](https://peteryuill.art/papers/S3)[S4](https://peteryuill.art/papers/S4)[S5](https://peteryuill.art/papers/S5)[S6](https://peteryuill.art/papers/S6)[S7](https://peteryuill.art/papers/S7)[S8](https://peteryuill.art/papers/S8)[S9](https://peteryuill.art/papers/S9)[S10](https://peteryuill.art/papers/S10)[S11](https://peteryuill.art/papers/S11)[S12](https://peteryuill.art/papers/S12)[S13](https://peteryuill.art/papers/S13)[S14](https://peteryuill.art/papers/S14) Jan Feb Mar Apr May Jun Jul Aug Sep Oct ## Related From the same date · 3 [Pattern The floor of V23 Composition rung raised in the later half of the practice (+2.65 SD, n 265)](https://peteryuill.art/oracle)[Pattern V23 material and surface rung rose from 2026-05-24 on (rank-biserial +0.76, n 265)](https://peteryuill.art/oracle)[Pattern The floor of V23 Form rung raised in the later half of the practice (+2.33 SD, n 265)](https://peteryuill.art/oracle) [Previous T_404](https://peteryuill.art/works/T_404) [Back to all works](https://peteryuill.art/works) [Next T_407](https://peteryuill.art/works/T_407) ## Where next [T_404 same date, with 2 others](https://peteryuill.art/works/T_404)[2026.10.29 6 paintings on this date](https://peteryuill.art/days/2026-10-29)[Paper S10 every work on it](https://peteryuill.art/papers/S10)