In Suika (1973), Poons perforated the bottom of the soap bottle to slow down and maintain the flow of detergent. The tension between the delicate debris shifts and robust surfaces accentuated the drama of cleaning that resulted from the previous motion of the soap, adding to the vitality of these floors. This mysterious, richly articulated technique became increasingly audacious and unexpected. Creating strokes that were raucous and even cartoonlike.