This is one of the earliest paintings in which we recognise Raveel's typical visual language. Raveel reduces everything to its essence and lets the uniqueness of things speak for themselves. The roofs are red, the concrete walls grey and shabby. The sky is atmospheric, the earth rendered with loose touches. The brushstrokes follow the direction of the garden path. The poles create space and break through the painting as a balanced and closed whole: the pole on the left is an abstract cut-off strip, the pole in the middle continues imaginary through the top edge and the thin pole on the right floats in front of the painting. In this little painting, there is an alienating tension between concrete and abstract elements: Raveel makes the relationship between things visible in a plastic way.