This incredibly vivid canvas is far removed from companion pieces made by Brooker during the same period, such as Sounds Assembling, 1928, and Alleluiah, 1929, because of the presence of the semi-human figure that hurls itself across the canvas in a robotic way, embodying the notion of striving and demanding the viewer’s attention. Placed in the foreground of the image, its softer, circular forms contrast with the much more solid horizontal passages behind it. The result dramatizes the struggle of a human being to achieve completeness.