In the mural size work, Trial 125, Rainbow - Rain and Light and Love (2016), for example, the artist uses uniform bands that seem to decrease in width towards the centre of the composition. The painting is divided into seven distinct planes that are organised according to similar hues and contain intersecting lines. Here, colour relativity also plays a central role in creating vast space. Although composed of geometric arrangements, each plane can be read as a different colour field where light dances in sequence. The white bands that position these areas of colour reach the upper and lower edges of the painting, eventually fading into a white background, suggesting infinity. Murad’s composition stretches across the canvas yet his grid seems suspended, as though held in mid air by opposite poles. If the artist’s title describes the sensation of rain and light as seen in the interplays of colour and line that form the painting’s expanse, then perhaps the element of ‘love’ that he refers to is the gravitational force that keep these elements in place.