Reading the surface of a painting is often a dual process. There is the movement from let to right akin to the page of a book, and its opposite, the head on stare. One process leads into another. A time element comes into this continuous shift of view and can add a level of energy to what essentially is an inanimate, flat surface.
In communication there are grades of urgency. Colour communicates its own narrative to the viewer. In sound as well as light we deal with vibration, and varying speed of said vibration. Our experience engage with matter, energy and time. As we view the inanimate flat surface of colour we ascribe to it an element of time and it seems to communicate to us a rhythm and frequently movement too. Sometimes the lack of complex narrative can help us get an idea of subtler, but no less compelling narratives. A lack of noise can make us listen harder.
Linkage or connection of parts build the fabric in matter as well as thought processes. The fabric gains its nature by the proximity of its parts. As with everything that is there is also its opposite, that which is not. This lies beyond. Paradoxically this area is a pre-requisite for the fabric itself.