Pretentious Yet Pointless
The artist uses a rectangular grid to restrict the colours, which in this way float free. A perpetually evolving evanescence, the outstanding aesthetic sensibility of which remains unchanged, is often irrefutably altered by the perception of the viewer. The viewer is drawn by the scale and openness of the picture into the world of delicate lissome curvilinear forms.
``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]