At the beginning of the 1980s the figure of the triangle disappears from Gaucher’s work, or, rather, it is reduced simply to diagonals. The paintings have deeper hues, presaging the dark values of the rich browns, deep magentas and khakis, and sombre blues of the so-called Dark Paintings, like T.D.S., that follow. They are long and subdivided into many parts, mostly by perpendicular edges, but crucially energized by one or two often subtly articulated diagonals, the many disparities finally orchestrated into dynamic equilibrium on a monumental stage.