The artist changes up his subject matter from the usual churches and fields for something a bit more gritty and industrial. In this case he applied the rigid symmetry he reserves for cathedral ceilings to a concrete underpass, in a way, elevating it, giving is something of the same grandeur of a Gothic church. The texture of the tracery is replaced by the weathered patina of the concrete. The architectonics of the arch is replaced by the purposeful alignment of the V-shaped pylons. The piece, like his church pieces, then becomes a formal work, concentrating on the arbitrary shapes that have been framed by the photographer. In this way, I think this work is even more successful than his church pieces because the symmetry and beauty in a Gothic arch is easier to see and accentuate. Here he had to use his expert compositional skills give it the sense of scale, depth and texture.