Interrupted with harmonious composition of shapes, Skreber's luminescent colour field is an exercise of pure aesthetics, a painting boasting formal perfection. In Untitled Skreber uses natural disaster as a means to negotiate the problems of painting: the sublime contemplation of modernism is transferred into a more frightening contemporary construct, where personal psychology is subsumed by the public realm. Incorporating tape to create a disjointed effect in the surface, he creates a textural stress undulating beneath placidity of the scene.
Skreber reinvents trepidation as a normalised condition of collective consciousness: awe as a symptom of mass-media proliferation, spirituality as an achievement of design.