The work has been arranged as a stack of pottery, vertically up the painting. Each individual piece of crockery has an individual shape, perhaps suggesting at the human individual. The jugs and plates are compacted closely together, with no interruption or view through. The only gaps are filled with black. The proportion of the painting is distorted, as it is unclear whether the pottery is piled up high, or the viewer is looking from above. This distortion evokes a feeling of confusion to perspectives, as Caulfield only subtly hints that they get smaller into the distance. The colour scheme employed is varied across the spectrum, to create a bright miscellany and diversity. No colour predominates another, but all are painted with equal significance. There is a definite sequence of shapes, as the pots and plates are all painted with confident curves and ellipses. The pottery is outlined in his trademark bold, black lines, to create a vivid, concrete, dynamical painting. The recurring black lines create a sense of rhythm. However, there is a lack of light or tone in the painting, and the colours used are blocked off in plaines. There is a lack of texture, making his work naively pictorial language, and very commercial.
The content of the painting involves simple crockery, as it towers up the canvas in an imposing manner. The lack of human influence in the painting evokes an eerie feeling of bleakness and isolation, despite the overwhelming sense of abundance. This gives Caulfield's perspective on the 1970s in which he lived in, that it was both luxurious but isolated. This shows similarities with the artist Edward Hopper, whom Caulfield greatly admired, as the lack of human influence creates loneliness and bleakness to the British way of life. Therefore, the painting is making a statement that is both social and political. The deliberate exaggeration of abundance of pottery portrays the intensity of the era, and the colours are both jarring and disturbing.
