Pretentious Yet Pointless
In the Suprematist vision, the visual phenomena of the manifest world are, in themselves, empty: the only worthy thing is feeling, as such. The artist does not use traditional proportions to restrict the colours, which thus stand alone. The spectator is drawn by the relationship of the viewer of the work into the world of invaluable cultural relics. Unexpectedly, we see the leading centralism representing strength undulate towards the centre of the sculpture, suggesting unreliability. The viewer is drawn by the extraordinarily refined aesthetic sensibility of the drawing into the world of invaluable cultural icons.
The shapes in this sculpture, despite appearing disarmingly simple at first glance, create in the mind delicate lissome curvilinear forms... A particularly contentious aspect of this doodle is the impersonal forms and industrial colours contrasting strongly with the dominant angularity and horizontality of the painting. A notable feature of this painting is the world of brightness and dark contrasting strongly with the arena of contrasting honey and white wine of the prototype. The receding curves are intertwined in a homage to celebration. The viewer is drawn by the essential identity of the image into the world of night and day.
``This art, facing forwards and inwards, is of images of expectation and spiritual progress that are freighted with no historical context at all and which owelittle to the appearance of observed reality''
[Brian Keeble on Cecil Collins, Temeno 11,, London 1990]