For his acrylic pieces, Thomas Emde places knobby-structured material color between two sheets of acrylic glass, thus conjoining two contradicting forms of color and color perception into a single entity. On the one hand, the smooth and polished surface of the sheet of acrylic glass within which the color appears almost incorporeal even as it concurrently forms a uniform and monochrome color field.

And, in contrast, the corporeally exuberant and haptic materiality of the color, which seems to literally ooze out from between the acrylic sheets, thus breaking away from the planar picture-like character of the flat acrylic glass and towards the sculptural.