Following the approach I developed in the first bird painting, this second work turns to another specific species: the meadowlark. Here the bird is caught in a moment of quiet movement, stepping forward on its delicate feet. All modeling has been removed, leaving a pared-down silhouette that sits close to and softly bleeds off one edge of the canvas.

The horizon shifts in this composition, dividing the surface into two ambiguous planes. Together, the simplified form and the altered spatial structure create an image that feels both representational and abstract—a graphic, distilled expression of motion and presence.