在《Uji》中，弗里兹将厚重的丙烯与树脂混合颜料以宽笔拖拽于画布，构成一组交错的彩色格面。作品的标题“Uji”取自日本禅宗哲学，意指“有时”或“存在即时间”，暗示绘画过程中的节奏与不可重复性。通过严格的创作规则，弗里兹将创作的“选择权”交还给材料与偶然，使画面呈现出机械与手工之间的微妙平衡。色彩在秩序中流动，笔触在限制中生成，绘画成为一种“无需作者干预即可自运转的系统”——正如艺术家所言：“我喜欢创造一个可以自己运作的引擎，一个不再需要我的引擎。”

In Uji (2020), Frize drags a thick mixture of acrylic and resin across the canvas to form a vibrant grid. The title, drawn from Zen philosophy, refers to the inseparability of being and time. Within a framework of strict rules, Frize relinquishes control to process and chance, allowing color and gesture to unfold autonomously. The painting becomes an “engine that runs by itself,” where structure and spontaneity coexist—transforming repetition into rhythm, and control into freedom.