Dance in Heat II by Tunji Adeniyi-Jones is a painting. It measures about 78 x54 inches and it is hung in portrait orientation, meaning its shortest side runs parallel to the ground.  It is set in an orange background with 3 red figures floating about as though they are actively in motion dancing through the canvas. These 3 figures seem to be dancing along caught in mid-air legs still in motion with limbs overlapping the other. The first to the left is farthest from the observer with left elbow extending off of the page yet the hand peaks in at the top of the page near the head. The legs of this figure are placed at a 45-degree angle with the feet appearing mid page, peaking from behind the middle figure.  The 3 heads are round implying they are bald or have very short hair with a vertical stripped pattern extending through the face. Each face is pointed at the observer directly ahead with intense eyes glaring into the audience. Each female figure looks down at the observer as they levitate above ground level. The painted figures coated in red have stripped patterns that contour throughout their nude bodies. These stripes are not vertical as those on their faces, the body patterns follow the movement of each figure creating an interesting intertwining overlapping stripped optical effect.  The middle figure has her right leg bent and elevated. Her body faces the right, yet her head tilts back to the left. The right hand of the first figure peaks through the middle figure’s bent arms facing forward. The middle figure’s right hand is placed slightly above her waist leaving a triangular space for the first figure to reach through. This right arm also overlaps the first figures breast. The right leg of this center figure overlaps the legs of the first figure pointing back and slightly bent at the knee. This figure is depicted as being in motion with the right foot which is closer to the audience overlapping the left knee. The right foot is then overlapped by a bird colored in red orange and pink, the bird blends into the scene as do all the other birds that surround these 3 figures. 2 birds at the bottom of the page. Three birds are placed around their knees or raised feet. One bird overlaps the buttock of the first figure and faces the buttocks of the middle figure. The last 3 birds are toward the top of the painting, one is behind the first figure’s head the other is between the middle figure and the 3rd figure’s head and the last one is barely visible behind the head of the 3rd figure. This last bird to the far right is the only one that faces downwards as all the other birds seem to be flying up or facing upwards.  The 3rd figure furthest to the right has both arms elevated as though they are in the act of coming together at the center of her chest in a position of prayer, meditation or to clap. With her hands a few inches apart, the right arm closest to the audience, is bent at the elbow and forms a triangular shape that is filled with a swirl design implying a vine plant with a few small leaves all around. This right arm also overlaps the middle figures left breast. This 3rd figure’s buttocks are covered by the middle figure’s lifted right knee. Both of the 3rd figure’s knees are slightly bent and are cut out of the composition. One foot is left behind overlapping the foot of the first figure that extends across the canvas to meet the 3rd figure’s foot. From left to right the first foot to be seen if we pan the bottom of this image is the left foot (back foot) of the middle figure. The middle foot which crosses over at an obtuse angle leaving a wide triangular opening, is the right foot of the first figure and the last foot present near the bottom of the canvas is the right foot of the last figure.  Flowers of the same shades of red, pink and orange are also scattered about the composition fading into the surrounding color pallet. These flowers are depicted as water lilies as seen in ancient Egyptian illustrations and wall carvings. Very few white markings appear on this canvas. They may be intentional, but most seem to be insignificant and likely tiny spaces that were not filled with color between figures and foliage.