A coarse dot screen covering the entire picture — thousands of small round white dots punched out of a strong violet field, the dots large enough to count, clustered irregularly rather than ruled in a grid, and scattered from edge to edge exactly as a risograph lays a fluoro spot ink down. The violet screen is the firmest dark in the frame and reads hard against acid lime beside it. Every ink sits at full fluoro chroma, and the violet screen stays the darkest value present. Under the screen sit soft airbrushed blooms that halo from tangerine core through chartreuse into ice blue, with fine diagonal hatching in the lightest areas and every shape reading as glow. The inks are slightly translucent where they overlap and the dots stay visible across the open ground as well as across the forms. The whole frame is high-key and luminous. The subject filling two thirds of the frame, seated square. A kettle mid-boil on a ring, isolated and held completely motionless. Four layers back to front: the violet field, the broad soft bloom of colour behind the object, the object's own glowing mass, then the dot screen as a fine top pass over everything. Hypnotic and still, one mundane object held until it turns strange, meditative and lo-fi, the whole frame at rest.