A work of stunning coloristic display and subtle, shifting surfaces, the Dancer in Blue II goes well beyond a re-formulation of Impressionist subjects in media available the late 19th c. Cano is here exploring new possibilities for giving emphasis to the female dancer’s tutu which helps to identify her as a novice ballerina. His special method of choosing and applying ‘acrylic skins’ draws attention to the free-range of colors in her rich floral bouquet at the center. So does the painting of her body, using shades of blue finely adjusted to the ‘2-tone orange/salmon color in the background’. Cano has noted that he utilizes the freedom and technical innovations that a Picasso and Matisse could well have tried… had they ‘the liberty of using those colors’ in their own time’. The dancer stands calmly, hands folded behind her, unaware of fallen blossoms beside her; she is waiting in a way that hints of adolescent awkwardness of posture.