Scully
employs a reductive vocabulary of thick horizontal and
vertical bands of color, which perform an interplay of mass, light and shadow, through which he reconciles the ordered character of early European Modernism, with its ideals of harmony and spirituality, and late American Modernism, with its use of less harmonious, expressionistic compositions.
In the late»60s, Scully started using tightly painted
vertical or horizontal stripes, and he subsequently
employed painted
bands both to weave spatial effects by placing one block of strips on top of another and to reassert the flatness of the picture plane.