Miró designed this collage on a base of flocked paper, an artists' paper created by blowing fibrous material onto a sheet prepared with a coating of glue or paint. Miró marked registration lines on the support to indicate the placement of the postcards and other cutouts, then drew undulating lines in conté crayon. Pinholes poked throughout the paper support are evidence of Miró’s continued engagement with the possibilities of negative mark–making. The sandpaper at the upper right reintroduces the tactile aggressiveness of the sandpaper and tar paper in Miró's 1928 and 1929 collages.
Gallery label from Joan Miró: Painting and Anti–Painting 1927–1937, November 2, 2008–January 12, 2009.
