The largest painting that Frize has made to date, Pelodisag is over sixteen metres long, consisting of nine abutting panels, it is wider than Claude Monet’s paintings in the Orangerie, and more than three times wider than Newman’s Vir Heroicus Sublimis (1950-51). Frize painted the canvases two at a time to ensure continuity. As he neared the edge of the second canvas, he would set aside the first and abut the third and then carry on over the edge of the second to the third canvas and so on. Thus although he knew what the preceding canvases looked like he never had a sense of the whole. It is an episodic way of painting, perhaps a way of constructing a narrative in time.