This work is at the crossroads of two major periods in Domoto’s painting: the calligraphic informel period and the geometric period. In 1962, the artist is a recognized member of the Informel movement as part of the Stadler gallery, and while exhibiting throughout Europe and the United States, he is driven by a new personal idea of the form.

He begins to divide the surface of his canvas into two or three areas, themselves divided into several readable registers. This fascinating period lasted only 2 years. This was followed by an even more advanced search of form with the famous Solutions de Continuité series from 1964 onwards, when he joined the Martha Jackson gallery.