Many of Yoshida’s paintings of this period use black and white tones, bearing a loose relation to Chinese and Japanese sumi-e paintings. Of interest in this painting is the way the moving black ‘figures’ appear out of a white ground and the constantly changing interplay between positive and negative space within the frame. As often happens with these smaller paintings one has the impression of peering into the intercellular matrix of living unicellular organisms, containing chromosomes, nuclei and other organelles that organise the life processes occurring at the smallest of microscopic scales. Subtle colour highlights and playful shading of light green and red further heighten the contrast between the primary tones adding further suggestions of depth and materiality to the work.