Another fine example of Yoshida’s transition paintings during which he moved beyond the black and white phase of his early years in Paris towards the grand metallic panels of his later years. Once again, upon a white ground that covers the entire frame, an abstract black figure sets out a distinct and demarcated boundary within the borders of which sits a far more abstract rendition in black, white and subtle shades of green and red. The work suggests a bounded, complex organic world that seems to radiate with the force of life of itself (Sei-Mei). While the main tonal borders appear, at first sight, to be fixed and constant, the inner protoplasmic material, in places, seems to permeate beyond the defining limits of the black figure, bleeding out to overlay the white background beneath.