Since 1974, Semmel has focused on her body as subject, beginning with her Self-Images series. In her new work, she combines conceptual and formal concerns echoing many of her previous investigations. Closely cropping the body's midsection, Red Floor (2020) is among Joan Semmel's most abstracted recent paintings and features the figure as a site for the subtle effects of paint, color, and light. The composition is defined by Semmel's perspective of looking down at her body, and the figure fills the frame in a manner that echoes the in-camera cropping of the photographs she takes as the basis for her compositions. In Red Floor, a dynamic relationship is born between light and color through the deep contrast between the steady beam of pale-yellow, which glows against her chest and upper thigh in a faded wash of loose brush strokes, in comparison to the boldness of the jagged red line reflecting the color of the floor against the bend of her elbow. She synthesizes her longstanding engagement with content and form to render aging and memory through the act of painting, insisting through her chosen subject that "the ﬂesh permits us to fully experience our common humanity."