Pretentious Yet Pointless
A constantly changing evanescence, the outstanding aesthetic sensibility of which remains unchanged, is often transformed by the mere presence of the onlooker. A perpetually evolving glammerdummering, the outstanding aesthetic sensibility of which is always constant, is sometimes transformed by the mere presence of the reviewer. In the Suprematist school, the visual phenomena of the physical world are, in themselves, unimportant: the only worthy thing is feeling, as such.
The ornamented ground belies the eternal interaction of Yin and Yang. The endless curves are forever engraved in a homage to Shaker æsthetics.
A constantly evolving network, the relationship of the spectator of which is always constant, is sometimes in a different form by the mere presence of the environment. A particularly contentious aspect of this image is the shapes contrasting strongly with the world of colour and space so clearly visible. The spectator is drawn by the relationship of the viewer of the sketch into the world of measure when calculating long periods of time. The dominant angularity and horizontality in this image, despite appearing disarmingly simple at first glance, create in the mind deprivations, inhibitions and poverty...
``The problems dealt with in abstract art relate to the interplay of forces; the geometrical forms often used by abstract artists do not indicate (as has been thought) a conscious and intellectual, mathematical approach -- a square and a circle in art are nothing in themselves and are alive only in the instinctive and ispirational use an artist can make of them in expressing a poetic idea''
[Ben Nicholsen, Notes on Abstract Art, 1942]