Painting mounted on wood over a second wooden board lined with Japon paper with two painted dots.

This original artwork was made as an idea for the etching and aquatint "The Desert Sand", printed in a limited edition of 90 in 1992. Originally from 2RC Edizioni d'Arte, Rome, the printmaking studios where Pasmore spent periods of intensive experimentation for the many prints he created there.

In 1966 Pasmore relocated to Malta. The light and landscapes of his new home soon began to influence the aesthetic of his work. His geometry softened, his colours brightened, and his lines and edges began to curve and wander. It's too simplistic however to claim that the artist was merely producing abstracted versions of the island's topography. Pasmore was too sophisticated for that. He once stated that:

"What I have done is not the process of abstraction from nature but a method of constructing from within".

We can say that much of Pasmore's work is based on processes rather than the effects and causes of nature. Despite its title this piece is not a stylised landscape painting. The physical process of creating the image, the structure of it and the physicality of the materials used are of primary importance and generate their own reality. Very often the line between painting and sculpture is blurred. "Idea for Desert Sand" expresses these qualities beautifully. A complex construction of wood, paper and paint, it captures the essence of what made Pasmore so revolutionary. To quote Pasmore again:

"[This] meant changing the process of painting from one of visual abstraction to that of intrinsic and organic construction."

Pasmore often included his initials as a visual element in his compositions during the 90s. In 1993 he explicitly connected this with the personal nature of his work, stating: ‘I’m an emotional painter...I always sign my work VP because actually that’s the whole content: me. Otherwise it’s just paint.’

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