Foregrounded by four white intersecting lines, as well a large, ink-black oval, a series of repeated forms similar in shape and structure are layered atop one another in washes of magenta, yellow, red, green and blue. The use of acrylic ink washes on raw canvas allows for a restrained and hard-edged technique, causing the eye to focus on simple colour and form relationships.
Hill has recently been focused on more formalist type paintings that recall aspects of minimalism and color field paintings though with references to the figure throughout. He finds conceptual company in the late Modernist paintings produced particularly in Canada. The work's graphic nature relies on the sheer flatness this medium produces.