Helen Harrison wrote in The New York Times :

"The painter Edward Joseph cuts out sections of landscape, forcing the vista into a vertical format. This contradictory presentation negates the horizon, pulling the eye up toward the sky and down toward the fore-ground, which is usually water. Land tends to appear as a brief but
significant punctuation mark, like a dash between two statements."

Grey Afternoon Slice is another painting in a series of extreme vertical landscapes which gives the viewer a glimpse of a larger, unseen world.