Stylised silhouettes of heads in profile taken from 1930s advertisements inhabit Drei Halunken Und Ein Halleluja with its angular and curved lines and soft, transparent hues. The overall pattern can be re-interpreted as something more than coolly assigned decorative motif: it seems to be a necessary spatially symbolic graphic which anchors the figurative elements, a sort of sine qua non in Hueller’s world. The whole composition is like a modernist-aware yin and yang, where each component in these pairings – darkness and light, figuration and non-representation – is part of the other.