For the fifth phase, while still maintaining the same “distorted” design, I completely emptied the work of any form of colour, just preserving the grid and the black planes. This allowed the basic geometry of the piece to emerge, set against the pure white background and with a total absence of colour.

After this, the work was inverted to produce its opposite. While at the previous step there was a striking absence of colour, here I used a combination of the three primary colours.