This subset of forty works from the artist's oeuvre that traveled from Ireland to China constitutes abstracted reflections of his lifelong credo of embracing, and not wasting, life. The grids are made with dried pigments mixed in linseed. Producing richly surfaced works that share qualities with relief sculptures, Kingerlee works on several paintings simultaneously, some up to fifty layers thick, often adding sand to the pigments to increase their texture. A favored technique is to carefully remove drying crusts and shards of paint, transferring them with a palette knife to another wet or dry area of the same or different paintings. The grids are composed of individually textured chromatic stratifications, built through the successive layering of pigments atop one another. Depending on the deftness with which the edges of the plaques are handled, the individual cells remain discrete or begin to blend with one another. In one work on paper with soft and suffused blue hues, the mounds of layered oil paint appear to have dematerialized to become cloud-like. The flattened cell surfaces resemble sheared-off seamounts with disintegrating borders joined at a common broad base. In a subset of paintings on board, canvas or paper, the rough hewn topographies of the individual cells are contoured with ridges and hollows over and within which icing-like paint has been troweled and slathered. The leveled terrain recalls a moraine and its glacial erosion processes of scraping and polishing. Despite the generous layers, in certain spots one can see down to the bare underlying board. Variations on the grid show differing clustering of the cells, or semblances of the base imprints of massive Celtic stone monuments known as dolmen and menhir. The grids hover in space with several facets skewed and canted, imparting an illusion of depth to the surface, while the contrasting pigment layers evince their palimpsestal nature.