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Combining large blocks of solid color and loosely drawn elements, George Anderton’s Henry’s Vase Play takes some cues from the Cubist tradition while utilizing the painting techniques he acquired while studying in Hungary. Composed on a grid, various shapes blur the line between abstraction and representation while intermingling with rectangular swaths of flat color. Delicate line work suggests dimension within some elements, yet serves to flatten or distort space in other areas of the picture plane. These contradictory features, where the hint of a potted plant can emerge from nonrepresentational bands of color and thin fluid washes of red can sit atop opaque blacks, whites, and yellows, establish Henry’s Vase Play as a painting for painting’s sake, adhering to neither the conventions of reality nor any one particular visual strategy, but to Anderton’s intuition, informed by his background in both philosophy and art.