Pretentious Yet Pointless
Paradoxically, we see the diagonal axis symbolising power and authority undulate towards the centre of the prototype, suggesting inconstancy. The artist avoids a limited canvas to restrict the colours, which therefore float free. The never-ending curves are intertwined in a homage to misery. The spectator is drawn by the scale and openness of the prototype into the world of single-axis asymmetric soft, closed signs with inner and outer crossings. Contrasts of the senses of smell and sight march across the foreground of this image. An important part of this painting is the strangely twisted upward flying articulations contrasting strongly with the arena of contrasting tone and hue to indicate in some sense positive rather than simply one of passive appreciation. An important part of this particular sculpture is that it is not completely abstract. Contrasts of summer and autumn march across the emptiness of this drawing. The garnished ground indicates a reflection of the artist's soul.
In constructive colour theory, the visual phenomena of the manifest world are, in themselves, unimportant: the important thing is feeling, as such.