It sounds a little like a description of the kind of silkscreen images he was most known for, made up of a series of receding and overlapping rectilinear forms, often with one or two small elements inserted to draw the eye rhythmically into the picture space and then back out and across the picture plane. If so, could the terms lisse and fond be used as part of the language of art criticism? I’m thinking of lisse in the roughly following sense : “Dans le vocab. de la crit. picturale. Caractérisé par une application mince et égale de la matière (peinture) sur le support. Matière, peinture lisse” http://www.cnrtl.fr/definition/lisse. And fond in the sens of arrière plan. Except that the lisses would be the arranged masses of denser colour perhaps, contrasting with the paler fonds in which the texture of the silkscreen shows through?
The lisses overlap with other lisses, and the fonds with other fonds. “Les masses qui sont les fonds et les lisses”, advancing and receding masses of opaque and translucent colour. “Des fonds, des contre fonds, des lisses et des contre lisses”. An oscillation of opaque and translucent geometry…
I could be totally off beam, thinking of the wrong prints. But that's how it sounds