Three vintage French bank checks form the central field of this sculpture. They are lit from behind with a shifting color palette that some viewers may associate with Chagall’s paintings—soft, layered hues that move gently across the surface. Plexiglass rods positioned behind the panels catch and magnify small points of light, creating round highlights that appear through the checks.

The checks are held within a square metal frame that organizes the three panels and brings them into balance. The structure provides a defined boundary for the composition, much like the framing elements Alberto Giacometti sometimes used to focus attention and give his sculptures a deliberate sense of place. A single plexiglass rod runs down the center of the work, dividing the three checks and establishing a clear vertical axis within the frame.

Two carved bone combs sit at the top and right edges of the piece, interrupting the symmetry established by the frame. Their neutral, off-white tone complements the pale color of the checks, so they register as part of the same visual family even as their shapes stand apart. The combs adjust the rhythm along the edges and keep the composition from settling into a single, predictable pattern.

The sculpture stands on a simple wooden base that anchors the arrangement above it. The base gives the piece its footing and establishes the overall orientation, allowing the framed checks and other elements to rise clearly above it. It functions quietly, grounding the work without drawing attention away from the color, structure, and small variations that define the composition.

All of the elements come together as a compact arrangement of color and structure. The framed checks form the primary surface, and the changing light alters how that surface is read over time. The added materials at the top and side introduce a few small variations within the boundary of the frame.

This sculpture works because each element supports the overall compositional balance.