Along the kerbs and spaces in between the lines are trees and at some points are there are some overhead street lighting lamps in the parkway. On the rear of the painting of the parkway is a bridge below which the lanes of the parkway pass.
Again, on the rear of the painting, the sky looks lighted, implying some source of natural lighting cast on the sky. In a similar way, hind sections of the parkway including the bridge and the surrounding sections are brighter as a result of the lighting. In contrast, the foreground of the parkway painting is not lit and creates an impression of some shadow. On the far rear of the painting, in the corner is equally lit storey building amidst several leafy trees. It is also noticeable that the trees around the storey structure are leafier as compared to the ones in between the lanes which look rather unhealthy. The painting of the Masholu Parkway also shoes a highway that is not up to standard since some sections of it look dilapidated. Proper planning of the highway also seems not to be sufficient no visible highway marks and directions to the highway users. Te lighting posts are also scanty in the painting of the Masholu Parkway.
The textural surface of the painting and especially with relation to the tactile character of the highway is in agreement. The quality feel and coloration of the painting most resembles the fabric of what the highways are perceived and known to be. The grey color used in most parts of the painting correlates well with the usual nature and texture and the feeling of any road or highway. As to the areas in the foreground, middle ground and the background and the space around and within the objects of the painting, the highway itself is accorded sufficient space. The space occupied by the highway itself is much greater than any other object in the painting. In fact, the bridge and the highway lanes take up more than three-quarters of the space available. This, in effect enhances the main focus of