Scott spent a scholarship year in Berlin, 1963-64 after an invitation from the Ford Foundation. The time he spent there was transformative for his art practice and he overstayed by several months. Upon arriving back in Britain, he began a new series ‘Berlin Blues’, concentrated largely around new abstract forms; mostly executed in blue and receding into large matte white surfaces. Berlin Blues heralded a new way of painting for the artist and seemed to mark a detachment from his long-held source materials: still life. This example exists within the fresh exploration phase in the artist’s painting, the composition must have felt successful to him, revisiting it at least once the same year and continued to do so in a series of paintings until 1968. The flat matte white that holds the blue form is reminiscent of the white element in Berlin Blues. The blue form is awash with expressive brushstrokes, the linearity suggestive of motion, particularly as the viewer is not able to see its end point either side. The repetition of the globular formations appearing either side of this band of colour evoke a sense balance. Few of the artist’s pictures are completely square, much like the present example, Scott would make them nearly square in order to create tension in certain areas and here there seems to be an act of balancing the rounded forms as they reach out into the pictorial space.