My experiments and thoughts around Palette on a Surface (I) led me to return to the subject, but this time I wanted to limit the amount of colors I used even more. The process of scattering the wool came back to me. In the past, I tended to scatter the wool while sitting on the sofa or in an armchair, forming it into balls. This was how Palette on a Surface (I) was made, but the experiences in Venice led me to change my approach to preparing materials for Palette on a Surface (II). This time the process of scattering the wool covered the entire room, and as I stood there, my thoughts returned to the performance from the Art Biennale in Venice. This was a form of exercising the body and mind, a sort of preparation, a ritual that tied me to the material. I was fascinated in creating the palette, because for the first time I reduced the color scheme so significantly. The basic group was earth colors: yellow and red ochres, browns, vermilions. I used black and gray for contrasts. I arrived at my next contrast using a blanched violet, bright pink, a small quantity of peach, whites, and delicate yellows. After mixing, the result was a warm and subdued palette, divided into three color groups. Most of the patches in Palette on a Surface (I) were not diverse, but the movement was highly dynamic. It surprised me that limiting the quantity of colors, enlarging and spreading the color patches and changing the way of preparing the materials caused Palette on a Surface (II) to become calmer, though still dynamic. The color fluctuation dominates the entire surface. Owing to the thickening of the wool, the movement slows down and the material freezes. At this point, the color is torn into smaller and larger color patches. Movement goes on in many directions at once, breaking the surface into several parts. We drift from fragment to fragment, because we cannot take in the entire palette with our gaze. Looking at Palette on a Surface (II) and Palette on a Surface (I), we see a tight mass seething inside the surface. It is like an elemental thing trying to get out. What distinguishes it from a traditional palette and also from paintings is the capacity to tear off color, owing to the use of a different medium. These actions of mine aim to bring about the full autonomy of color, independent of the picture, object, or any set form. Both the stripping of the material from the surface and the shaping of the palette with no intention to depict, are the first steps in this endeavor.