The triangular structure combines the usage of utilitarian materials, such as bolts, door hinges and plexiglas, hinting at the ready-made, commerce, modernist architecture and advent of communication. This selection of materials further reflects on the artist’s association with the radical Bauhaus philosophy of uniting the arts through playful modification of everyday objects and utilitarianism. Though geometric and angular, the structure alludes to what Senstad calls a “human” circle, not unlike the integrated architecture of tribal and indigenous societies. Colors interact among the semi-transparent acrylic panels, reflecting and refracting variations of light.