The first operation I carried out was to redraw the original work, respecting its dimensions down to the last millimetre, as well as the design, geometric proportions and width of the lines. I also executed this task with regard to the other 46 works involved.
The first step, in this context, involved enlarging and sub-dividing the original work into two main components: the geometric grid and the planes of colour.
This led me to impart a sort of three-dimensional form to the composition. I imagined removing the geometric grid from the canvas, together with the black-coloured planes, and seeing its shadow projected onto the underlying plane, which still retained the layout in the original colours.
The next step was to reverse the work, inverting it like a mirror-image, so what I could see was not the stretcher or the back of the canvas, but rather the same design with opposite colours. So, black turned to white and vice versa; red became green; yellow became violet; blue became orange, and the neutral greys turned into their opposite neutral greys on the colour scale. Thus, a very light grey, composed of 80% white and 20% black, turned into 80% black with 20% white, and so on.