Take The Islands (1961). Against a buff-coloured ground, its neat pencilled lines form a successions of tiny boxes. With the exception of its border, which resembles the fringe of a rug, these elegant rows have been seeded with hundreds of tiny paired dots of pale yellow paint, which from a distance translate into a shimmering veil. Everything is relentlessly the same, and yet out of this sameness arises an image unlike anything that had gone before.
