On a clear day, #1 1973

Agnes Martin made this grid on a clear day, #1, and I bet she was chasing something ethereal, something just beyond grasp. You can see the hand in the work so clearly: the lines aren't perfectly straight, the color isn’t uniform. There’s a subtle, human touch that vibrates, ever so gently. It is as though she were thinking, what would happen if I were to divide up this space and make a kind of calm? I wonder if she was thinking about Mondrian, or maybe even Barnett Newman, but going in a totally different direction - quieter, more meditative. She's whispering instead of shouting, using a light touch to explore ideas about space and feeling. It’s like a landscape, almost. Each square is a little world, a potential for something. The imperfection becomes the point, and the repetition becomes almost meditative. It's not just about what you see, but what you feel when you see it. It is an exchange, a silent collaboration between the artist and us.