This work is typical of Moss's study of geometric form of this period, a straightedge-and compass construction in pencil on paper. The 'figure' — an exuberant dancer of a form, caught in motion, en pointe — is contained within a framing square, that measures 7 inches and 5/16 as is annotated at the top. Small, dashed marks (honing the pencil nib?) are strewn at the base, giving an insight into Moss's working method — precise and rapid Scratchy lines are doubled, giving an effect of vibration and musicality.

If one considers the lines in these drawings as sounds (note or chord progressions) and geometrical figure as the musical key, one can, to a certain extent, compare these drawings to music. Often the drawings relate most clearly to Moss's sculpture, but in this case a relationship to painting might be inferred; vertical lines are extrapolated from the points, that could generate an orthogonal grid.

To accompany her first show of 'drawings and constructions' at Arra Gallery, Mousehole, in 1949, Moss wrote:

I would like to ask the public to look at the work, as free as possible from preconceived ideas on art. These drawings are constructed on a very simple principle - a geometrical figure - sometimes broken, sometimes cut, sometimes divided, sometimes sub-divided - until the relation of the lines to each other produce an aesthetic emotion.

The design is almost identical in structure, to another work on paper, shown below, and it is from there the approximated date is derived. This work is 'finished' with coloured details, signed and dated, so the work at hand may have been a stage in the planning process of it; a preparatory drawing for a drawing. They both arrive from the same collection in the Netherlands, that of the Nijhoffs.