當康多在杰羅姆·德·諾瓦蒙畫廊展出這件作品時,他與Emmanuelle de Noirmont討論了爵士樂對他的創作的影響,尤其是自由爵士樂。這種音樂形式出現在1950和1960年代的美國,並確立了樂手應該以簡單的音樂主題開始,並在此基礎上即興創作為原則。這與《卡通抽象》和《偉大的加佐》有其相似之處,在藝術家的技巧上尤為明顯,在畫面構圖上的巨大自由度和在顏料的運用方面。線條是粗略的,顏色在其線性邊界越出,在畫面的某些區域中,人物的各個細節以不同的排列方式重複出現、扭曲或相互倚靠。康多完整保留了人物最初的黑色輪廓,中心主題不僅從這些輪廓中開始,而且還向外延伸,創建出淹沒餘下畫面的抽象結構。由藝術家重新構想出不連貫的人物描繪,顯示了其自發性,並且呼應了可以用不同音調演奏的曲調。
Picasso once said, "Good artists borrow, great artists steal." Indeed, American artist George Condo frequently cites Picasso as an explicit source in his contemporary cubist compositions and joyous use of paint. Condo is known for neo-Modernist compositions staked in wit and the grotesque, which draw the eye into a highly imaginary world.
Condo came up in the New York art world at a time when art favored brazen innuendo and shock. Student to Warhol, best friend to Basquiat and collaborator with William S. Burroughs, Condo tracked a different path. He was drawn to the endless inquiries posed by the aesthetics and formal considerations of Caravaggio, Rembrandt and the Old Masters.