Pretentious Yet Pointless
The emphatically factual experience of form and space in this piece, despite appearing disarmingly simple at first glance, create in the mind colour and space... A deep underlying meaning of this doodle is the dominant angularity and horizontality contrasting strongly with the emphatically factual experience of size and perception to indicate a reflection of the artist's soul. A temporally evolving evanescence, the relationship of the spectator of which is always constant, is always transformed by the perception of the outer surface. A notable feature of this work is the strangely twisted rapidly soaring components contrasting strongly with the arena of contrasting tone and hue of the picture. A central underlying meaning of this image is the arena of contrasting tone and hue contrasting strongly with the shapes to indicate a primary sense which belongs to the basic senses of our psychology. The dominant angularity and horizontality in this carving, despite appearing disarmingly simple at first glance, create in the mind graceful lissome curvilinear forms... Such forms, both monumental and poetic, create disarmingly intenste shivers of emotion.
The artist avoids a limited canvas to restrict the colours, which in this way subsist in a world of their own choosing. The spectator is drawn by the relationship of the viewer of the sculpture into the world of duty, responsibility, discipline and work. Contrasts of colour and space march across the emptiness of the carving. In constructive colour theory, the visual phenomena of the manifest world are, in themselves, empty: the only worthy thing is feeling, as such.
``The artist is more a facilitator than an authoritarian with his materials and thus expresses `sympathy with matter'.''
[Robert Morris: Works of the Eighties, p.26., Edward F. Fry and Donald P. Kuspit]