Painted in Paris in 1960 during the Degal and Kruschev cold war.  Paris was a police city during those days.  She was happy to stay home and paint.  She was in the 14th near Montseratt.  She painted daily in the living room.  Sam had big studio in Arcueil.  Arnold Rudlinger was visiting paris to buy paintings for collectors in Basel.  He came to see Sam for supper and Teruko made Spaghetti.  He looked at each piece.  he asked if she would sell them.  She said yes.  He came back the next day.  Noldi said that Joan Mitchell would like to buy the painting.  This was one month before Teruko had gone to Tokyo for the Minami Show.

The 1964 Kunsthalle exhibition included at least 30 paintings of this size.  There was a political atmosphere in Paris during this time.  Kruschev during that time was in Paris and there was some sort of a parade.  Sam had advised her to always carry her passport when she was walking in Paris at this time.  Red and Gray was also about her memory of the war.  She doesn't want to stay in a fallout shelter.  I don't want to see the world after bombs. I want to see small flowers by the path. They don't mind if we look at them or not, each one has it's own life and it's own beauties.  As she points to the Red in red and gray, she calls it Kokoro (the heart).  In Japan, the location of the heart is in the abdomen (the Hada) and is underneath the navel.  The heart can eb the center of the whole being of the person.  The heart in her paintings " I want my pictures to give pleasure to the heart of other people.  About the diamond shape.  The diamond is almost a circle for me. It is whole like a circle. (This clip on the Hard drive is labelled Ninja 2B - 003, 004, 005, 006, 007, 008, 009,  - Conversations about Red and Gray)